THE ART 
 
 SKETCHING EROM ,NATUEE. 
 
 BY 
 
 THOMAS ROWBOTHAM, 
 
 AUTHOR OP "the ART OP LANDSCAPE PAINTING IN WATER COLOURS." 
 WITH TWENTY-SIX ILLUSTRATIONS DESIGNED BY 
 
 THOMAS L. ROWBOTHAM, JUN., 
 
 PROFESSOR OF DRAWING TO THE ROYAL NAVAL SCHOOL, NEW CROSS; AND MEMBER 
 OF THE NEW SOCIETV OF PAINTERS IN WATER COLOURS, 
 
 And Engraved on Wood by DalzieL 
 
 JFourteentfj lEliition* 
 
 LONDON : 
 
 WINSOll AND NEWTON, 38, RATHBONE PLACE. 
 1853. 
 
 price: oxk suiLiiiiKO. 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/artofsketchingnatuOOrowb 
 
THE ART 
 
 SKETCHING FROM NATURE, 
 
 BY 
 
 THOMAS ROWBOTHAM, 
 
 AUTHOR OF "THE ART OF LANDSCAPE PAINTING IN WATER-COLOURS." 
 
 THOMAS L. EOWBOTHAM, JUN., 
 
 PROFESSOR OF DRAWING TO THE ROYAL NAVAL SCHOOL, NEW CROSS, AND MEMBER 
 OF THE NEW SOCIETY OF PAINTERS IN WATER-COLOURS. 
 
 And Engraved on Wood by DaJzieL 
 
 FOURTEENTH EDITION. 
 
 LONDON: 
 
 WTNSOR AND NEWTON, 38, EATHBONE PLACE, 
 artists* Colour Jlato, is special appointment, to f^er fKajcstg, 
 antj to ll.^a.l. iPrmce mbzxt 
 
 1853, 
 
PREFACE. 
 
 Many students possessing a certain degree of skill 
 in the use of the lead-pencil and chalk are^ for want 
 of acquaintance with the necessary rules^ entirely at a 
 loss when attempting to commence a landscape sketch 
 from nature; the principal difficulties they experience 
 being, to determine where to commence the sketch, 
 and how much of the subject before them they ought 
 to include within the limits of the paper. 
 
 Attention to the precepts contained in the following 
 pages, will, it is hoped, clear away these, and many other 
 difficulties, that obstruct the essay of the sketcher. 
 
 The short cause of instruction laid down is purely 
 elementary, and confined to linear sketching. The 
 limits of this little work do not admit of the intro- 
 duction of the more advanced stages of colouring, and 
 its complex manipulations. These, however, are ren- 
 
vi 
 
 PREFACE. 
 
 dered the less necessary here, as they have been already 
 fully entered into and explained, in two works, compris- 
 ing portions of the series to which the present treatise 
 belongs.* One of these, written by the Author of this 
 book, in conjunction with his son, treats of the elementary 
 portion of landscape painting in water-colours, and in the 
 other, the subject is continued through its advanced 
 stages by Mr. Aaron Penley, who has laid down, in a full 
 and clear manner, all the details of colouring, and the 
 rules for its manipulation, with which it is requisite for 
 the landscape-sketcher to become acquainted. 
 
 The instruction attempted to be conveyed in the 
 following pages, is the result of many years^ active 
 practice of the Author^s profession ; and his hopes will be 
 realized if he should be hereby instrumental in assist- 
 ing the student in his endeavour to acquire the power of 
 
 Sketching from Nature.^^ 
 
 * " The Art of Landscape Painting in Water-Colours/' by T. and 
 T. L. Rowbotham. Winsor and Newton. Price Is. 
 
 " A System of Water-Colour Painting/' by Aaron Penley. Winsor 
 and Newton. Price Is. 
 
THE ART 
 
 OF 
 
 SKETCHING FROM 
 
 NATURE. 
 
 In the brief course of instruction proposed in the fol- 
 lowing pages^ the object is to lead the student to a 
 successful result by the simplest means. The rules are 
 few ; but if carefully studied, they will be found applicabk 
 to every object occurring in ordinary experience ; and it is 
 hoped that they will be deemed plain and intelligible. A 
 multiplicity of technical terms and prolix explanations has 
 been purposely avoided, as the end aimed at may be 
 attained without them ; but there are some terms which 
 it may be requisite to explain, as they frequently and 
 necessarily occur in the course of these precepts. These 
 terms are 
 
 The Picture : 
 
 The Centre of the Picture; commonly, but 
 erroneously, called the point of sight : 
 
8 
 
 SKETCHING FROM NATURE. 
 
 The Distance of the Picture : 
 
 The Base Line : 
 
 The Horizontal Line : 
 
 The Vertical Line. 
 For the sake of rendering these instructions more clear 
 and perspicuous^ we shall recapitulate a few of the general 
 principles of linear perspective. This recapitulation will 
 be rapid and concise ; touching only upon those more 
 important points which are in fact indispensable in suc- 
 cessful sketching from nature ; and we also purpose to 
 explain the general terms given above. In fact^ our object 
 is rather to recal to the recollection of the learner certain 
 principles and methods^ with which we suppose him 
 to be already acquainted^ — the study of the elements of 
 linear perspective being indeed the very first process to 
 which the attention of the learner should be directed in 
 his introduction to the art of drawing. 
 
 All objects which present themselves to the eye in a 
 landscape, such as houses, trees, water, fields, moun- 
 tains, &c., can be faithfully drawn in corresponding and 
 similar outlines upon a plane surface. 
 
 For if a piece of glass be held vertically at a proper 
 distance between the eye and the proposed landscape, so 
 that the part intended to be drawn can be seen through 
 it, it is evident that a tracing of the apparent outlines 
 of all the objects so seen through the glass can be made 
 upon its surface, by the use of any instrument, which. 
 
OF THE HORIZONTAL LINE. 
 
 9 
 
 when carefully guided over the apparent outline of the 
 objects would leave^ by means of colour or any other 
 substance, the traces of its path. 
 
 As it is impossible to adopt this process in drawing 
 from nature — the material on which the outlineis then made 
 being a non-transparent medium, that is, paper, — it is 
 clear that sketching can be only effected by a distinct 
 apprehension of the real forms of the objects themselves, 
 and of those apparent forms under which they are pre- 
 sented to the eye in their different positions in the 
 landscape. 
 
 Now all these objects have their real outlines com- 
 posed either of straight lines, or of curved lines, or of 
 both, which either may be irregular in their relation to 
 each other, or may follow certain given laws and con- 
 ditions. If the latter be the case, these laws are, for 
 the most part, of such a simple character as to admit 
 of being easily comprehended ; and when once the prin- 
 ciples, which we shall by-and-by enumerate, are mastered 
 and understood, the student will find, in the repre- 
 sentation of more complex forms of outline, an increasing 
 facility, as his judgment becomes more matured, and his 
 eye more correct. 
 
 OF THE HORIZONTAL LINE. 
 
 If a spectator were placed in a flat horizontal plain, 
 the water or ground which he would have in view before 
 
10 
 
 DISTANCE OF THE PICTURE. 
 
 him^ would appear to rise from the spot on which he 
 stood^ the limit of that rise being determined by a clear 
 and well-defined straight line^ called the horizontal line. 
 This will at once be understood^ in the example of the sea- 
 or of a lake^ between which and the sky no object is 
 supposed to intervene. 
 
 This horizontal line — or (as the word* implies) this 
 boundary — lies exactly opposite to the range of the eye, 
 when the spectator^ in moving round from left to right, 
 or from right to left, looks before him in a direction 
 neither above nor below the natural plane of his vision. 
 It is important that the learner should have a clear and 
 distinct apprehension of what this horizontal line is ; 
 because it is to this line that every other line is referred, 
 and that by its means the accuracy of the drawing is 
 secured. 
 
 DISTANCE OF THE PICTURE. 
 
 In Fig. 1, a landscape is supposed to be viewed from 
 the spot marked E ; and that the spectator is desirous 
 of representing on the plane of his paper a certain portion 
 of the scene as seen by him from this point. That portion 
 constitutes his real picture. 
 
 Here, therefore, arises the first question ; that of de- 
 
 * The word horizon is nothing more than the participle of the Greek 
 verb signifying to bound." 
 
DISTANCE OF THE PICTURE. 
 
 11 
 
 termining how much of the landscape or the objects he 
 is viewing, should be contained within his proposed 
 picture. 
 
 The distance of the picture, — or distance of the eye 
 from the plane of the picture (which is the same thing), 
 — means the distance intervening between the spectator's 
 position, and that point on the ground directly in front of 
 him, where the picture, which he is about to make, ought 
 properly to commence. Upon the choice of a proper and 
 judicious distance, the beauty of his work will in a great 
 measure depend. 
 
 Suppose the landscape to be viewed from the point 
 E (Fig. 1), then that portion of the scene which the eye 
 can easily take in, without moving the head, and without 
 the slightest strain upon the optic nerve, will constitute 
 the picture from that point. 
 
 Now, under this condition, the spectator will find that 
 he does not distinctly see the ground immediately before 
 him, but that he obtains a perfectly easy view of it only 
 at some distance from his position at E, It is the space 
 included between the point E (where he is placed), and 
 the supposed point alluded to, and here marked S, that 
 establishes the required distance of the picture, that is, the 
 distance of the eye from the proposed picture. For instance, 
 let S be that point on the ground immediately in front of 
 the eye, and that if through S a straight line be supposed 
 to be drawn, perpendicular to the distance ES, this line will 
 
12 
 
 DISTANCE OF THE PICTURE. 
 
 FIG. I. 
 
EXTENT OF THE PICTURE HORIZONTALLY. 13 
 
 pass through and determine the foremost objects of the 
 proposed picture^ and therefore at this line the picture 
 must commence. 
 
 THE EXTENT OF THE PICTURE HORIZONTALLY. 
 
 The next process is to determine how far along this 
 line the view should extend to the right and left of the 
 point S, 
 
 Pace the distance from E to S. 
 
 Suppose it to prove twelve paces. 
 
 Place a mark at S, a glove^ or sticky or any object that 
 may be distinctly seen from the position E ; then walk 
 six paces from S in the direction SD, and there leave 
 another visible mark ; also six paces from S to B, where 
 a third mark should be placed. All the objects seen 
 between the marks at B and D will constitute the 
 intended picture^ as viewed from the point E ; the lines 
 drawn at B and D perpendicular to BSD being the sides 
 of the picture. 
 
 If it be objected that, from the nature of the ground, 
 this principle could not in some cases be carried out, it 
 will at least be admitted that the student may make 
 himself thoroughly acquainted with it by first practising 
 on places offering no obstacle to his attempts ; and he 
 will thus soon be enabled to form a proper judgment, 
 as to the distance and boundaries of his picture^ under any 
 circumstances whatever. 
 
14 
 
 THE VERTICAL LINE. 
 
 It must, however, be observed, that this forms the 
 extreme limit of the picture, laterally. Any portion of 
 the vievr may be taken, within that limit ; as is exempli- 
 fied in the Frontispiece of this book. 
 
 THE VERTICAL LINE. 
 
 That an accurate notion of the vertical line may be 
 obtained, the plane of the picture must be supposed to 
 be perpendicular to the horizontal plane. 
 
 If a straight line be drawn from the spectator's eye, 
 perpendicular to this plane of the picture, that line will 
 fall upon the plane at a point in the horizontal line 
 directly opposite to the eye. In Figs. 1 and 2, C is 
 this point, and it is called the centre of the picture, or 
 centre of view. In reference to the eye of the spectator, 
 every straight line perpendicular to the plane of the 
 picture appears to converge towards this point or centre. 
 The line which, drawn from the eye of the spectator, 
 determines this centre C, is called the vertical line. It is 
 a straight line through 8, perpendicular to the hori- 
 zontal line, and the base of the picture ; and in Figs. 1 
 and 2 it is represented by the line £C 
 
 In Fig. 2, the lines and points before described are 
 further illustrated ; and to impress them clearly on the 
 mind of the student, we recapitulate them, as they are 
 exemplified in this figure. 
 
THE VERTICAL LINE. 
 
 15 
 
 E is called the point of sight, or place of the eye. 
 
 C, the centre of view, or centre of the picture ; being 
 the point on the horizontal line H immediately oppo- 
 site to the eye. 
 
 (This point C, must not be mistaken for the centre of 
 the paper ; it bears no such meaning, for it is marked, 
 occasionally, somewhat rather to the right, or to the left, of 
 the middle of the horizontal line ; but in all cases it is 
 termed the " centre of view,^^ or " centre of the picture.^^) 
 
 B D, the base line, equal in length to jE C ; 
 
 S, the point on the ground immediately opposite the 
 foot of the sketcher, as C is opposite to his eye : 
 
 E Sj the vertical line — the length of which is equal to 
 the supposed, or known, distance of the eye from the 
 commencement of the picture at It is necessary to 
 explain that E is not the real position of the eye, and that, 
 as it is requisite for practise to draw the length of the 
 vertical line E 8 upon the paper, and as this cannot 
 always be done with convenience below the base line, as 
 in Fig. 1, it may be drawn above, as shown in Fig. 2 ; the 
 only limitation being in this case that the extent of the 
 base line B D is determined by E C, not as in Fig. 1, by 
 E Sy as the space from S to C is allowed for the height 
 of the eye above the ground. 
 
 The use of this vertical line is the same, whether it be 
 drawn above or below the centre of view C ; and it is 
 shown in the two positions, in Figs. 1 and 2, merely 
 
THE VERTICAL LINE. 
 
 because it is frequently more convenient to mark the 
 point E above^ than it would be to place it below, the 
 horizontal line. 
 
 Upon the length of the vertical line E C, depends 
 the just and natural representation of objects. If it be 
 too short, they will appear unsatisfactory, and more or 
 less distorted. 
 
 The following example will illustrate the truth of this 
 statement. (Fig. 3.) 
 
 FIG. 3. 
 
 ML 
 
 A block of wood or stone (Fig. 3) is to be represented at 
 different distances ; it has a square base, and is seen m a 
 
 2 
 
18 
 
 THE VERTICAL LINE. 
 
 position in which, its sides are oblique to the plane of the 
 picture ; — seen, in fact, from both points, under the same 
 circumstances in all respects, as regards surrounding 
 objects, except that the perpendicular distance of the 
 spectator from the base line B D, is much less in one 
 than in the other. 
 
 In Fig. 3, No. 1, the distance of the point of view, from 
 which the spectator sees the stone, is only half the length 
 of the base line B D, (that is, of jB C in Fig. 2). 
 
 In No. 2, the distance of the spectator is equal to the 
 entire length of B D, (i. e., of E C in Fig. 2). This 
 distance may, in particular cases, be made greater, but in 
 no case should it be less. 
 
 A slight glance at each will show how much more 
 satisfactory to the eye the drawing is in No. 2 than that 
 in No. 1 ; although it is, in fact, in both cases strictly 
 accurate according to the distance adopted. 
 
 In both instances (Figs. 1 and 2), the centre C of the 
 picture is placed in the middle of the horizontal line 
 H H ; but it may be placed somewhat either to the right 
 or left of that position, according as the sketcher may be 
 disposed to stand a little to the right or left of the 
 centre of the proposed view. These alterations of C will 
 of course modify the appearances of the objects, under 
 principles hereafter to be explained. 
 
POSITION FOB- THE HORIZONTAL LINE. 19 
 
 PROPER POSITION FOR THE HORIZONTAL LINE, 
 
 The proper position of the horizontal line will depend 
 upon the nature of the view to be represented. Hence the 
 sketcher must consider — 
 
 First, whether he himself and the objects he is about to 
 represent, are on level ground or nearly so. 
 
 If the view be on a plane nearly level, the horizontal 
 line may be drawn at about one-fifth, or one-fourth, of the 
 height of that space of his paper which is intended for the 
 picture (Fig. 4). 
 
 FIG 4. 
 
 Secondly, whether the ground be undulating, or 
 
 2 * 
 
20 
 
 PROPER POSITION FOR THE 
 
 whether the objects be viewed from a carriage, or from 
 the lower windows of a building, or any similar moderate 
 elevation. 
 
 In this case, the horizontal line may be placed at about 
 one-third the height (Fig. 5). 
 
 FIG. 5. 
 
 Thirdly, whether the scenery be mountainous, with a 
 lake ; or whether the objects be viewed from some con- 
 siderable elevation. 
 
 In this case, let him choose a position that will 
 command a good view of the scene, and prevent closer 
 and more immediate objects from concealing any portion 
 
HORIZONTAL LINE. 
 
 21 
 
 of the remote distance; and though the height of the 
 horizontal line in this case may sometimes be a little more 
 than half the height of the paper, according to the 
 elevation attained by the spectator to command the view, 
 yet it is desirable not greatly to exceed this ; otherwise, 
 what is called a bird^s-eye view^^ will be the conse- 
 quence (Fig. 6). 
 
 In the following example, the horizontal line is drawn 
 at nearly half the height of the paper. 
 
 FIG. 6. 
 
 We may here incidentally observe, that, as a general 
 rule, the sketcher will find it advantageous, after having 
 
22 OF THE UP-HILL VIEW. 
 
 drawn a faint horizontal line^ at its proper height^ to 
 ascertain^ by holding up his pencil horizontally on a level 
 with his eye^ what object, or part of an object, appears 
 on that point of the horizontal line immediately before 
 him ; the island^ for instance^ in the above sketch. He 
 may begin his drawing by representing such object at 
 that pointy and proceeding right and left, on the same 
 level, to the extremities of his picture. This will greatly 
 assist in guiding the delineation of the remainder. 
 
 OF THE UP-HILL VIEW. 
 
 All horizontal planes, — appearing to ascend if they 
 lie below the horizontal line, and to descend if they lie 
 above it, — vanish or merge in the horizontal line. So 
 also all parallel sets of horizontal straight lines, not 
 parallel to the horizontal line H appear to descend, if 
 they lie above it, or ascend, if they lie below it, to some 
 point in the horizontal line ; in which point they converge 
 or vanish. Thus in painting, the sea and sky are 
 considered horizontal planes, and we have already in- 
 stanced their apparent meeting in the horizontal line. 
 So again, in representing the interior of a room — the floor 
 and ceiling (if flat and parallel to one another) appear 
 to approach each other, and would, if indefinitely pro- 
 duced, meet or vanish in the horizontal line of the 
 spectator, as their common vanishing line. 
 
 But suppose the ground before the position at E (Fig. 1) 
 
OF THE UP-HILL VIEW. 
 
 23 
 
 to form an inclined plane instead of a horizontal one ; a 
 plane inclining upwards from the base line^ at some 
 known or supposed angle. In this case^ such an inclined 
 plane will meet the plane of the picture in a line above 
 the horizontal line : hence there will be two vanishing 
 lines on the paper, — one whereby to delineate objects 
 on the horizontal surface ; the other by which to draw 
 those situated on the inclined plane. 
 
 The following diagram will make this clear. 
 
 In this figure (Fig. 7), B D k the base line ; H H 
 the common horizontal or vanishing line ; C the centre 
 of view in that vanishing line ; L L the vanishing line 
 
 
 FIG. 7. 
 
 
 L 
 
 
 L 
 
 H 
 
 C 
 
 E 
 
 B 
 
 
 D 
 
24 
 
 OF THE UP-HILL VIEW. 
 
 of the ascent ; and the centre of view in that vanishing 
 Hne. 
 
 It is obvious^ that in proportion to the less or greater 
 inclination of the supposed plane, the line L L will be 
 nearer to, or more distant from, the horizontal vanishing 
 line, H H. Towards some point or points in this line L L, 
 the representations of all right lines parallel to the surface 
 of the ascent must be drawn ; as is seen (Fig. 8) in 
 the felled trees, the ruts in the road, the upper and lower 
 lines of the wooden palings, &c. 
 
 But the lines of the brick wall, and those horizontal 
 lines of the house, which are horizontal and also per- 
 
 FIG. 8. 
 
OF THE DOWN-HILL VIEW. 
 
 25 
 
 pendicular to the plane of the picture^ are drawn towards 
 the vanishing point C in the horizontal line H H, 
 
 OF THE DOWN-HILL VIEW. 
 
 If a descending plane be visible to the eye of the 
 spectator, it is clear that it can be represented upon 
 paper ; and the remotest, that is^ the lowest lines of the 
 descending plane of the view will have, in that repre- 
 sentation, a higher place on the plane of the picture than 
 the nearest, that is, the highest ones of the actual view. 
 This is shown in the following diagram. 
 
 Place on the table, at a short distance from you, a 
 drawing-board, a portfolio, or any other plane, having 
 
 FIG 9* 
 
 the nearer end supported, so as to be inclined at an angle 
 under which the plane is yet visible; and let a by-stander 
 hold a straight ruler, vertically, at a small distance from 
 
26 
 
 OF THE DOWN-HILL VIEW. 
 
 the nearer edge ; it will then be found that the lower and 
 more remote edge of the plane will appear higher on the 
 ruler than the nearer one, the lower edge being seen 
 at a, the upper edge at b. Merely, however, to draw 
 two horizontal and parallel lines across the paper, for the 
 purpose of representing a descending plane by the space 
 between them^ alone, without the assistance of other lines 
 in contrast with them, would be impossible ; but whenever 
 the descending plane is visible, the effect of descent can 
 be readily conveyed by means of auxiliary lines on the 
 surface of that plane, assisted by a judicious use of light 
 and shade. 
 
 Again; — let the sketcher suppose himself on a hill 
 descending directly from him, and that a yard or two 
 in advance of him a line is drawn across the road parallel 
 to his position, and another line a few yards further down 
 parallel to the first; it would be found, on holding a 
 pencil upright at a little distance from the eye, so as 
 to appear to cut both lines, and on looking at them with 
 one eye closed, that the lower line of the descent would 
 cross the pencil transversely at a higher point than 
 would the upper and nearer line. 
 
 In this example (Fig. 10), the spectator is supposed to 
 be on such a hill, having the vanishing line L L of the 
 descending plane, and the horizontal vanishing line H H, 
 in their proper positions. Then all lines on the descend- 
 ing plane, or parallel with it, — as the timber^ the marks of 
 
OF THE DOWN-HILL VIEW. 
 
 27 
 
 the waggon-wheels^ &c._, — tend towards the vanishing 
 line L L, while the horizontal lines of the house and wall 
 tend in the direction of the horizontal line^ and^ if pro- 
 duced to that limits would converge and there be lost. 
 In this example^ the lower extremity of the descent is 
 
 FIG 10. 
 
 evidently^ — as^ according to the principle laid down, it 
 ought to be, — higher on the plane of the paper than the 
 upper one. 
 
28 
 
 ON THE REPRESENTATION OF 
 
 ON THE REPRESENTATION OF HORIZONTAL STRAIGHT LINES 
 —WHETHER PARALLEL, PERPENDICULAR, OR OBLIQUE, 
 TO THE PLANE OF THE PICTURE. 
 
 A horizontal right line has, with respect to the plane 
 of the picture, one of three positions. It is either parallel 
 to it, or oblique to it, or perpendicular to it. The follow- 
 ing supposition will explain what is meant by these three 
 relations of a horizontal line. 
 
 Let the student suppose himself sitting with his back 
 against one of the walls of a rectangular room. The wall 
 opposite to him is parallel to that behind him, and conse- 
 quently to the plane of his picture in that position. The 
 two remaining walls being at right angles with that 
 opposite to him, are evidently perpendicular to the plane 
 of the drawing, and all horizontal right lines on those two 
 walls are also perpendicular to that plane, and will appear 
 to tend towards a point immediately opposite to his eye. 
 
 FIG. 11. 
 
HORIZONTAL LINES. 
 
 29 
 
 H H (Fig. 11) is the horizontal line or level of his 
 sight^ C the point opposite his eye^ and that point towards 
 which all horizontal right lines on the walls A and B 
 appear to slant ; though in reality they are perpendicular 
 to the wall at C 
 
 The lines 1 and 2, where the ceiling and the side- walls 
 meet, and 3 and 4, the lower limit of the walls, as well as 
 the horizontal lines of the door and its panels, are, in that 
 position of the spectator, all perpendicular to the plane 
 of the opposite wall, and therefore to the plane of the 
 drawing. 
 
 The representation, upon the ])lane of the paper, of 
 a horizontal straight line, ought to be carefully and dis- 
 tinctly apprehended. The effects of the projection or 
 drawing of these different positions of the horizontal 
 straight line may be understood from the following- 
 diagrams and explanations. Let a straight line be placed 
 horizontally before the sight, and in a direction perpen- 
 dicular to the vertical plane ; but let it be a little above 
 or a little below the level of the eye ; it will appear as if 
 perpendicular to the ground. (See Fig. 12.) 
 
 Thus C is the point opposite the eye ; 1 and 2 represent 
 a straight line held immediately above or below the level 
 of the sight at C. The line will now seem to the eye, to 
 be perpendicular to the ground; the alteration being, 
 in fact, the apparent diminution of the line as to its 
 length. Now, if it be placed above the level, as before. 
 
30 ON THE REPRESENTATION OF 
 
 and be removed to the right or left^ it will appear 
 as in Fig. 13. 
 
 FIG. 12. 
 
 1 
 
 _ c 
 
 2 
 
 FIG. 13. 
 
 c 
 
 And if below the level of the sights it will appear to take 
 such a direction as this : 
 
 FIG. 11. 
 
 But if on the right or left of the eye and on a perfect 
 
HORIZONTAL LINES. 
 
 31 
 
 level, and either oblique or perpendicular to the plane of 
 the picture, it will fall into the horizontal line, thus : 
 
 FIG. 15. 
 
 And, lastly, if it be placed immediately opposite to the 
 eye, the projection will be a point ; the end, as it were, 
 alone being visible. 
 
 These conditions may be illustrated by placing on a 
 table a portfolio, into the upper leaf of which is fixed a 
 long pencil-stick, perpendicular to the plane of the leaf. 
 Let the lower edge of the folio be even with the edges of 
 the table, as the line a bm the diagram. 
 
 FIG. 16. 
 
 II 
 
 f 
 
 Let the spectator seat himself a little to the left of 
 the folio, the point C, on the horizontal line H H, 
 representing the point immediately opposite the eye ; 
 
32 
 
 ON THE REPRESENTATION OF 
 
 then the sides a d and b e of the folio will appear to 
 tend towards the point C, the centre of view ; the pencil- 
 stick / appearing^ as it really is, perpendicular to the 
 table. 
 
 Now let the upper leaf of the folio be raised until its 
 plane be perpendicular to the plane of the table. The 
 relations of the lines a d and b e with the horizontal line 
 are now changed, and the stick still remaining perpen- 
 dicular to the leaf of the folio, becomes by the change of 
 position perpendicular to the plane of the picture ; and, 
 like all lines similarly disposed, it tends towards the 
 centre of view C, while the sides a d^ and b e^ are now 
 perpendicular to the table, and appear to be much longer 
 than when seen in their original position. 
 
 This diagram (Fig. 17) exemplifies the horizontal right 
 line as seen parallel and perpendicular to the plane of the 
 picture; two of the three relations ascribed to it. The 
 lines so parallel are a b and d e ; the lines so perpendicular 
 are a d, b e, and the stick /. 
 
 FIG. 17. 
 
 c 
 
HORIZONTAL LINES. 
 
 33 
 
 The apparent increase of dimension of a d, when 
 raised from its horizontal position^ having been shown, 
 the manner of determining the length of this side of the 
 folio, when lying flat, is as follows : 
 
 FIG. 18. 
 
 I J a 
 
 Having drawn (Fig. 1 8) the horizontal line through the 
 centre of view C, and the edge of the folio parallel to it, 
 and having marked the centre of view as at C, set off 
 C E on the horizontal line, at a distance from C equal to 
 the supposed distance of the eye from the point C It 
 has been laid down as a rule that the distance of the eye 
 from the centre C should be equal to the width of the 
 picture, but in drawing a single object, a shorter distance 
 will suffice to show the principle of construction. 
 
 From the point b on the line a b, make b g equal to 
 one of the shorter sides of the folio; join b C, a C, and 
 draw a straight line from gto E cutting b C in ^, and draw 
 e d parallel to b g cutting a C in d ; then a d e b will be 
 the representation of the leaf lying on the table, and 
 a d will be the apparent length of that side of the folio. 
 
 3 
 
34 
 
 OF LINES OBLIQUE TO THE 
 
 If the point E were transposed to the other side the 
 centre C, then b y, instead of being marked towards the 
 right hand from b, must be set off from a, towards the 
 left hand^ and the result will be the same. 
 
 OF LINES OBLIQUE TO THE PLANE OF THE PICTURE. 
 
 The third relation remains to be explained ; namely^ 
 that of horizontal straight lines oblique to the plane of the 
 picture. 
 
 If the folio^ with one leaf remaining flat and the 
 other vertical, be moved ever so slightly, but obliquely, 
 from the position in which we have considered it, the 
 lines a d, b e, and the stick / will no longer tend towards 
 the centre of view C, but will become oblique to the plane 
 of the picture, and have other vanishing points in the same 
 horizontal line, but approaching to, or receding from C, 
 according to the degree of inclination of 6 e and c d io 
 the plane of the picture. 
 
 The position of these vanishing points will depend 
 upon the degree at wbich the horizontal straight lines are 
 inclined to the picture. For if the lines be perpendicular 
 to the plane of the picture, we have seen that C, the centre 
 of view, is the vanishing point for all such lines. If the 
 lines be parallel to H H, the vanishing point will be at an 
 infinite distance from C. Hence it is evident that the 
 vanishing point will retire from (7, as the angle of the 
 
PLANE OF THE PICTURE. 
 
 35 
 
 given line with the horizontal line becomes small^ or as its 
 angle at E with E C becomes greater. 
 
 On these principles the law of the variation of this 
 vanishing point may be determined. 
 
 First, let the angle made by the given inclined line 
 be half a right angle. This case is exemplified in Fig. 2, 
 in which the lines of the gable, ridge, chimney, 
 window, &c. stand at an angle, equal to half a right angle, 
 or 45°, with the horizontal line. In this case, the 
 vanishing points, on both sides, are V and V, the 
 extremities of the semicircle V E V, 
 
 Secondly ; let the inclination of the lines to the 
 horizontal line, and to each other, be represented by the 
 angles of a rectangular and horizontal block of stone, 
 similar to that represented by No. 2, Fig. 3, where the 
 vanishing points are considerably beyond the limits of the 
 picture, or paper, an inconvenience of constant occurrence 
 when a pi^oper distance is used for the representation of 
 the object, but which the following expedient is calculated 
 to obviate. 
 
 The base line, the horizontal line, the centre of view, 
 and the vertical line being drawn as before, also, the near 
 vertical edge {a b) of the block, proceed thus : 
 
 Make C J5, on the vertical line, equal to, say, ^, the 
 proper distance of the eye from C, (which distance may 
 be more, but never less than the extreme dimensions of 
 the picture, whether it be higher than wide, or wider than 
 
 3 * 
 
36 
 
 OF LINES OBLIQUE TO THE 
 
 high^) and construct the right angle L E M m such 
 manner that both the points L and M may fall within 
 the limits of the paper^ as seen in the figure. Then the 
 point E will be the representative of the true place of the 
 
 FIG. 19. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 t \ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 \\ 
 
 
 
 
 
 
 .1 
 
 
 
 
 
 
 
 
 1 
 
 .2 
 
 h 
 
 
 
 
 i 
 
 
 2 
 
 .3 
 
 
 
 — ~ z. 
 
 a 
 
 
 
 \: 
 
 
 3 
 
 4< 
 
 
 
 
 
 
 
 
 S - 
 
 eye^ and the points L and M. the representatives of the 
 true vanishing points^ which would be^ respectively^ on 
 the horizontal line produced^ equal to three times C M 
 on that side of C, and three times C X on the other ; 
 whilst the true place of the eye^ on the vertical line 
 produced upwards, would be equal to three times C JE. 
 Produce E C to the base line : also bisect the right 
 
PLANE OF THE PICTURE. 
 
 37 
 
 angle L E M to x ; x will be the vanishing point of the 
 diagonal of the square blocks draw b x. Through L and 
 M draw lines (any length) parallel to E C. 
 
 Take any small opening of the compass^ and mark the 
 space off repeatedly from C to the base line^ or even below it 
 if necessary ; and^ if any portion of the object to be drawn 
 reaches above the horizon, do the same also from C to E, 
 (or higher^ if required). In this example the whole of 
 the object is beloio the horizon. Number those divisions, 
 from C downwards, as in the figure, and, if required 
 upwards from C, in a similar manner. 
 
 Take in the compass as many of these divisions as 
 make one less than the number of times C jE is contained 
 in the true distance of the eye ; in this example it is 
 contained three times ; therefore take two divisions from 
 the vertical line and mark them off downwards (and, if 
 necessary, upwards) from L and M, 
 
 Subdivide each of those divisions into as many equal 
 parts as C E is contained in the true distance, in this 
 case 3 : and number them as in the figure. 
 
 Now if from any point {a) a line be drawn in the 
 direction of the two corresponding points on the divided 
 lines it will tend towards the true, but inaccessible vanish- 
 ing point as required. 
 
 Thus a line drawn from the upper corner of the vertical 
 edge (6) through the points 2 and 2, on the left hand, 
 will tend towards the true vanishing point of that line ; 
 and which is also the vanishing point for all horizontal 
 
38 
 
 OF LINES OBLIQUE TO THE 
 
 lines on the left side of the object. A line from the lower 
 corner {a) drawn at a properly proportioned distance 
 between 4 and 5 on the lines through C and M, will tend 
 towards the true vanishing point on that side ; and which 
 is also the proper vanishing point for the remaining 
 horizontal lines on the right side of the figure. 
 
 In order to determine the proper apparent extent of 
 the sides^ let the line S represent their real length : and 
 mark off from L along the horizontal line the distance 
 L D equal to L E, 
 
 On C and D raise any two convenient right lines 
 parallel to each other, as in the figure, and make D e 
 equal to S, Join e L, cutting the line on C at f : C f 
 will be proper measure for the sides of the block. 
 
 On the base line make, a f, and, a g, each equal to 
 
 cf. - 
 
 From / and g draw lines towards C, meeting the lines 
 previously drawn from a, at h and i. At these points, h 
 and i, raise perpendiculars to meet the lines drawn from 
 b k and / from /, and through a point about midway 
 between 1 and 2 on the left hand draw I rn, meeting the 
 diagonal b x in m, and join m k. This completes the 
 figure, the whole of the necessary points being within the 
 boundaries of the paper ; and thus is obviated the diffi- 
 culty arising from the vanishing points being inaccessible 
 on the plane of the paper. 
 
 A little practice will enable the sketcher in determining 
 his lines, to dispense with points and the ruler altogether^ 
 
PLANE OF THE PICTURE. 
 
 except where occasionally the use of a pencil may be 
 desirable to draw a straight line with sufficient accuracy. 
 
 If the angles formed by the original lines (as the right 
 angles formed in this case by the sides of the block) be 
 greater or less than a right angle^ a case of frequent 
 occurrence, all that is required will be to draw L E and 
 E M inclined to the vertical line 1? C at angles equal to 
 the given angles. 
 
 FIG. 20. 
 
40 
 
 OF LINES OBLIQUE TO THE 
 
 In the example in Fig. 20^ the horizontal lines forming 
 the wood work in front of the buildings and those of the 
 roof are oblique to the plane of the picture^ and have 
 a tendency to points considerably beyond the limits of the 
 paper ; but the difficulty is met by the rule already laid 
 down, in reference to Fig. 19^ and is here exemplified in 
 application to a pictorial object. 
 
 The oblique lines of the gable are represented accord- 
 ing to their angle of obliquity^ and their position in rela- 
 tion to the plane of the picture ; but for general sketching 
 purposes it will be sufficient to draw diagonals as illustrated 
 in Fig. 21. 
 
 FIG. 21. 
 
 In this diagram (Fig. 21), or in any similar sketch to 
 
PLANE OF THE PICTURE. 
 
 41 
 
 which the rules of its construction apply^ the lines of the 
 unseen parts of the structure, which are here dotted, may 
 be lightly put in with a pencil, so that when the visible 
 lines and surfaces are firmly represented, the light lines 
 may be effaced. The vertical and horizontal lines, a e, 
 a b, b &c., being determined by the preceding rules, 
 and diagonals a g, e by &c., being drawn, perpencticulars 
 are raised on their intersections at x ; that in front 
 being determined by the assumed height of the gable, 
 as <2; / (or the height of the apex of the pediment, if there 
 be one). Draw the oblique lines e f, and f g. 
 
 If the roof projects, as it does in Fig. 20, produce 
 outwards the horizontal lines of the walls and the ridge of 
 the roof to the apparent extent, as at e 1 ; and draw a 
 line from 1 towards the proper vanishing point, which will 
 give the point 2. Now produce the lower lines a 3, and 
 b 4, making a 3 equal to e \ ; then a line from 3 towards 
 the same vanishing point will give the point 4 and the 
 junction of 1 4, and 2 3 will give diagonals intersecting 
 at 0, whence a perpendicular is raised, meeting the line//* 
 produced, at 5 ; and 1 5 and 2 5 are the oblique lines of 
 the projecting roof. 
 
 Thus in the construction of this figure every necessary 
 point is found within the limits of the paper, although 
 the same relations could at once be established by means 
 of the vanishing points, if requisite. 
 
 The structure represented in Fig. 22 may be drawn 
 according to instructions given in reference to Fig. 19. 
 
42 
 
 OF LINES OBLIQUE TO THE 
 
 Thus, as before, let C E be equal to one-tliird of the 
 true distance of the eye, and the distances of L and M 
 respectively equal to one third of the distance of the true 
 vanishing points from the centre of view C. 
 
 FIG. 22. 
 
 
 
 
 
 y J, 
 
 
 ..J 
 
 
 
 
 
 f 3 
 T 3 
 
 
 
 /v 
 
 
 
 1 » 
 
 
 
 
 IP 
 
 
 
 • J 
 
 31 \ 
 
 
 
 n 
 
 N\ 
 
 C': 
 
 
 
 
 
 
 
 ii 
 
 
 
 
 ! ^ 
 rJ— — ' 
 
 JL 
 
 Through the corresponding numbers 3 and 3, or 2 and 2, 
 in the lines drawn through M, E, and L respectively, 
 draw lines which will tend to the true vanishing point of 
 the horizontal lines of the wall, in which three openings or 
 windows, with their piers, are to be represented according 
 to their proper scale of relation. 
 
 This is usually effected by drawing a line from a, or b, 
 
PLANE OF THE PICTURE. 
 
 43 
 
 parallel to the horizontal linc^ on which the geometrical 
 measures of the piers and windows are marked off from 
 a or h, whichever may be adopted. But in this case a 
 confusion of lines would ensue from the adoption of such 
 a course ; an inconvenience which may be obviated by 
 drawing from h a line b x oi any length and parallel to 
 that running through 2 and 2 below M L, and by then 
 marking the windows and piers upon it in their propor- 
 tionate geometrical widths from b to x. Then a line drawn 
 from X through the corner of the wall at d, to meet that 
 through 2^ 2, below L M, at y, gives a point towards 
 which lines from all the divisions on b x may be drawn, 
 dividing the upper line of the wall, as seen in the figure ; 
 from which divisions, perpendiculars may be dropped, 
 showing the proportionate diminutions of the widths of 
 the proposed windows. 
 
 Again ; let a n on a b he the height of the lower lines of 
 the windows from the ground, and let n o he the height of 
 the springing of the arch from the bottom of the windows, 
 and p the height from the chord to the apex of the 
 arch, and from these points nop, draw lines towards 
 the vanishing point of the line b d ; this, by crossing 
 the perpendiculars, will decide the heights of the windows. 
 The point for the apex of each arch may be found by 
 means of diagonals. 
 
44 
 
 CIRCULAR OBJECTS. 
 
 CIRCULAR OBJECTS. 
 
 Among the circular objects which may^ in the course of 
 experience^ present themselves to the sketcher, perhaps 
 few would cause him more embarrassment in their deli- 
 neation than a mill-wheel ; which, when viewed obliquely 
 (and it is seldom represented otherwise), presents an 
 elliptical or oval form. The drawing, however of this 
 object will be readily effected by the following application 
 of the foregoing rules. 
 
 FIG. 23. 
 
CIRCULAR OBJECTS. 
 
 45 
 
 Let a b he the vertical diameter of the wheel j — then 
 according to the preceding rules, draw the right lines 
 c a d,f e, and, i b g. Draw d e g parallel to a b, and 
 at a distance from it equal to the apparent width of half 
 the diameter (which in this position will appear some- 
 what less than the real semi-diameter) ; draw cfi parallel 
 to a b but still less distant from the centre o than d g is, 
 because o ^ is more remote. 
 
 Produce o b to x, making b x equal to o b. Draw o i, 
 g ; then lines drawn, from x to e and/, will cut o g and 
 i in two points, through which the curve must be 
 described, and touching the straight lines at the points 
 e b, and /. The wheel being an overshot wheel, the lower 
 portion is not visible. Should, however, the entire wheel 
 be seen, the lower points for the curve will be on the 
 diagonals immediately beneath the others, as shown in 
 the figure. 
 
 The student may have recourse to similar means for 
 drawing the circular arches of a stone bridge. It seldom, 
 however, happens that a bridge of this kind is a desirable 
 object in a landscape, unless perhaps in the distance, 
 or in the middle distance, of the picture. Arches, how- 
 ever, are frequently found in association with the most 
 romantic features of nature ; such, for instance, as that 
 near Aberyswith, called the DeviPs Bridge, and many 
 others. 
 
CIRCULAR OBJECTS. 
 
 Some of the stone bridges in the lake districts of 
 Cumberland and Westmoreland are extremely picturesque. 
 They are of very rude construction^ being in many cases 
 formed only of loose stones for the passage of sheep and 
 herds of cattle over small streams; it is^ however^ from 
 their very ruggedness that they derive their interest^ 
 surrounded as they frequently are by scenery of much 
 grandeur. The sketch below affords a specimen of this 
 kind of simple and picturesque bridge ; it is thrown over 
 a small stream flowing into West Water, one of the most 
 picturesque of the Cumberland lakes. 
 
 FIG. 24. 
 
 ~ " ~ " " ^ ] 
 
CIRCULAR OBJECTS. 
 
 47 
 
 The subject of the frontispiece is " Stockley Beck/^ 
 in Cumberland^ which, in combination with a portion 
 of the mountainous district amid which it is situated, 
 forms a passage of landscape scenery that in pictorial 
 interest can scarcely be surpassed. It is only in Wales, 
 in Scotland, and in the lake districts of England, that 
 such combinations are met with. This, and other similar 
 sketches are introduced here, only to afford to the student 
 examples of this class of scenery, and to illustrate the 
 selection and treatment of a sketch. 
 
 The rude bridge, forming the subject of Fig. 25, 
 
 T'IG. 25. 
 
48 
 
 ON THE CHOICE OF SUBJECT. 
 
 crosses one of the streams that flow from Snowden. It 
 is near Beddgelert, and so picturesque is it from every 
 point of view that no sketcher goes into the neighbour- 
 hood in which it is situated^ without making a drawing 
 from it. 
 
 ON THE CHOICE OF SUBJECT. 
 
 As the strict end of our instructions here is to assist 
 the sketcher in gaining a facility in simply delineating 
 real objects and combinations of objects^ it is desirable 
 that it should be understood, that this is only the first 
 step towards learning to draw from nature. An easy, 
 rapid, and decided manner of sketching is to be acquired 
 only by practice. It is an acquisition essential to excellence 
 in all the other artistic qualities to which it serves as a 
 basis ; therefore, it would be here altogether out of place 
 to propose a discussion on colour, manipulation, and all 
 those questions of feeling and execution, which, brought 
 forward at so early a period of progress, would only serve 
 to divert the student from the attainment of the power of 
 dealing with these effectively hereafter. These subjects 
 * are entered upon in their proper places, in the series to 
 which this little book belongs. 
 
 It is, however, necessary that the sketcher be assisted 
 in the choice of subject matter. The exercise of a little 
 judgment in this respect, will render his progress agree- 
 
ON THE CHOICE OF SUBJECT. 
 
 49 
 
 able to himself, and his works presentable to others. To 
 beginners, the great precept of one of the most accom- 
 plished of our living landscape painters is^ to study 
 little bits,'^ a precept which will apply equally to sketch- 
 ing as to painting. 
 
 Among the subjects forming the wood-cuts^ which 
 illustrate these instructions, there are many which might 
 serve as initiatory essays ; and others of various degrees 
 of progress, even to compositions which might be worked 
 up into drawings and paintings of considerable beauty. 
 All artists have some peculiarity in their method of 
 sketching, and rapid and broad sketches are frequently 
 intelligible only to those who make them. One of the best 
 qualities, however, of a sketch is, that it should not only 
 refresh the memory of the artist^ but should be suggestive 
 and intelligible to every one. 
 
 With a little education, the eye will discover material 
 for study everywhere. London and its environs abound 
 wdth subjects of picturesque beauty. Hampstead, High- 
 gate ; the banks and wharves of the Thames down even 
 to the Nore ; every suburban locality ; all the green lanes, 
 and the commons with which they communicate, abound 
 with materials which may be wrought into pictures of the 
 highest degree of interest. These are the localities which 
 have contributed to form many of the best of our land- 
 scape painters : and so it is elsewhere ; there is no spot 
 in the country so entirely divested of picturesque character^ 
 
 4 
 
50 
 
 ON THE CHOICE OF SUBJECT. 
 
 as not to supply, to the cultivated taste, subject matter 
 for an interesting picture. In confirmation of this, it is 
 only necessary to look round our exhibitions, to see 
 numerous works of great beauty and interest, produced 
 from materials in themselves apparently extremely slight. 
 
 Having made himself master of the principles here 
 laid down, the sketcher might select for commencement, 
 some single object, such as the quaint old gable in 
 Fig. 20. A subject like this is sufficiently good to be 
 drawn from various points of view, and it should be 
 studied in such a manner, that at any subsequent 
 period, a coloured drawing might be made from it. 
 Fig. 1, exemplifies a composition of lake and mountain 
 scenery, in which the expression of the pencil is sufficient 
 to show the relation of the objects. Through the middle 
 distance to the foreground, the touch is gradually 
 strengthened, and the most decided and darkest lines 
 appear in the nearest parts of the view. The water is 
 left nearly white. This sketch is as slight as it well 
 can be, to be worked out into a subsequent finished 
 picture. Fig. 4 forms an extremely simple subject, 
 a winding river with a boat, a few trees, and a distant 
 spire ; there is more than mere outline, but still no more 
 than may be gracefully effected by the pencil ; • and in 
 Fig 5, wherein the church tower is the prominent object, 
 the place of the sun would cause the amount of shade 
 which gives force to the sketch. The frontispiece is a 
 
COMPOSITION OF LINES AND FORMS. 51 
 
 very carefully studied sketch, which might be coloured, 
 with little modification according to its present distri- 
 bution of light and shade. 
 
 In accordance with the principle, which recommends 
 simple subjects to beginners, the student will do well to 
 sketch some easy group, or single object. It frequently 
 occurs, that with objects of picturesque character there 
 are associated others which do not harmonize with them. 
 In such case, a point of view should be sought that 
 would exclude these objectionable forms. Middle and 
 remoter distances afford facilities for the modification of 
 such objectionable forms ; but a certain amount of practice 
 will be necessary to qualify the student to deal successfully 
 with these niceties. 
 
 COMPOSITION OF LINES AND FORMS. 
 
 Every production of art, of whatever kind it may be, 
 is reducible to its elementary construction of lines and 
 forms ; and upon the skilful dispositions of these depends 
 the excellence of the composition of the picture. The 
 essential spirit of composition is variety but, in order 
 that the whole may be with ease and with pleasure to the 
 spectator comprehended in one view, it is necessary that 
 all the minor parts be so harmonized as to form one well- 
 balanced whole, consisting of a few prominent masses or 
 groupings, which according to the principal law of compo- 
 sition must be diversified in magnitude and in form. One 
 
 4* 
 
52 
 
 COMPOSITION OF LINES AND FORMS. 
 
 of these masses should be treated as the principal, and the 
 others dependent upon it and contributive to it : but it is 
 necessary that they be distinct in appearance and place^ 
 although all coincident in respect of the proposed senti- 
 ment. Whatever form may be determined on^ it is 
 necessary to guard against a fixed regularity — an equality 
 and repetition of parallel^ rectilinear, and circular forms ; — 
 indeed whatever be the general outline of these masses^ 
 it must neither be too regular^ nor, on the other hand, 
 too much broken ; the continuity must rather be slightly 
 indicated than absolutely and sensibly determined. And 
 in order that nothing may be wanting, the various 
 components should preserve an evident relation among 
 each other ; they should be associated in such a manner" 
 that none may appear entirely detached, the larger masses 
 being broken and relieved by the minor and subordinate 
 parts ; showing a whole so well balanced, that no one 
 part can be abstracted without the deficiency being at 
 once felt. 
 
 If we turn to the frontispiece, and consider the dispo- 
 sitions observed in that composition, we shall see that the 
 positions of the principal objects are not the result of 
 mere chance, but that they are brought into this com- 
 bination from a particular point of view, which is 
 determined as most favourable in this case to picturesque 
 composition. The principal features in the view are the 
 bridge, the stream, and the mountain. By the emphasis 
 
LIGHT AND SHADE. 
 
 53 
 
 with which the bridge is treated^ it is brought forward 
 to the eye as a principal object ; but it does not^ never- 
 theless^ occupy the centre of the composition^ nor does 
 the stream flow in a direct course down the centre of the 
 drawings nor the mountain rise to a cone equidistant from 
 both sides. These dispositions are effected with a view 
 to avoid that balanced formality against which we have 
 cautioned the learner. Again^ with respect to the arch^ 
 it contrasts with the irregular shapes of the rocks and 
 stones lying near it ; and no two of these are of like 
 form. The lines^ descriptive of the descent of the moun- 
 tain, necessarily tend in one direction ; but a formal 
 parallelism is avoided, and the lines are modified by 
 light and shade. In artificial objects parallels necessarily 
 occur, as in buildings of all kinds ; but such lines and 
 parts are rather indicated than harshly forced upon the 
 eye ; and, by the aid of light and shadow, they are reduced 
 to purer breadth and harmony. 
 
 LIGHT AND SHADE. 
 
 In an outline sketch, it is found that outline alone is 
 inadequate to the representation of an object in relief; it 
 cannot give substance, nor define relative distances so as 
 to maintain the objects in their proper places. We have 
 urged the necessity of judicious selection of subject matter, 
 and we have now to observe, that, how well soever the 
 subject may admit of composition, it is yet necessary that 
 
54 
 
 LIGHT AND SHADE. 
 
 it be effective in its light and shadow; for it greatly 
 depends upon the happy or unskilful distribution of these 
 lights and darks^ whether a composition will appear 
 confused and broken^ or agreeably united into one 
 harmonious whole. There are times when the most 
 commonplace material may strike us as beautiful ; while 
 conversely, the most charming scenery may become void 
 of interest. The matter-of-fact representations of the 
 breadth of a meridian light, and the same passages of 
 landscape viewed under the shades of evening, affect the 
 feelings very differently. In the latter, there is a charm 
 which operates even upon minds least susceptible of impres- 
 sion from the beauties of nature : and if it be necessary to 
 cultivate a discrimination even with respect to degrees of 
 the beautiful, how much more necessary is it to aim at 
 acquiring the power of conferring importance upon, and 
 investing with deep interest, any slight subject matter 
 w^hich we may have to treat. This is, after all, the test 
 of the master — the power of giving, by means of judicious 
 light and shade, importance to matter comparatively 
 insignificant. The general principle acted upon by all 
 artists, is to dispose the lights and shades of their work 
 in the manner best suited to the treatment they propose 
 for their work. If we turn to Fig. ' 5, we find a dark 
 mass reared against alight sky, and immediately supported 
 by shaded objects of different degrees of depth, and repe- 
 titions of dark in the foreground ; with very little change. 
 
LIGHT AND SHADE, 
 
 55 
 
 this arrangement of light and shade might be adapted to 
 a great variety of combinations. 
 
 The simplest form of effect is the opposition of two 
 masses. If the subject by dark — as a building or a group 
 of trees — it will be relieved by a light sky : if it be light, 
 the sky will be darker. This simple opposition we men- 
 tion in order to observe, that, in every pictorial compo- 
 sition, it prevails in the great masses and throughout the 
 details ; but the principle* is concealed in proportion as 
 the w^ork is successful. Every dark must be relieved by 
 a light ; and every light must tell against a dark ; this is 
 the law of natural chiaroscuro, and in art it is the principle 
 of relief ; but the contrasts must not seem either harsh or 
 artificial. 
 
 The forms of light and shade are subject to the same 
 laws as those of objects : hence, if a subject be treated 
 with a breadth of light, the principal mass must not 
 regularly divide the composition either vertically or hori- 
 zontally. If shade prevail in the picture, the same rule 
 applies ; but light or shade may be introduced at either 
 side of the picture, occupying there the entire plane, and 
 diminishing to a point at the opposite extremity of the 
 horizon. 
 
 In a light picture a simple and agreeable effect is 
 produced by placing the principal dark or most substantial 
 
 * Ars est artem celare. 
 
56 
 
 LIGHT AND SHADE. 
 
 point on the right or the left in the foreground^ and by 
 approaching from this point towards the base of the 
 picture and the horizon with graduated tones broken 
 and varied according to the kind of objects introduced. 
 
 The examples of light and shade here recommended are 
 extremely simple ; and a knowledge of them will prepare 
 the student for an acquaintance with dispositions of 
 greater complexity. 
 
 END. 
 
 LONDON : 
 
 Priuted by Schulze and Co., 13, Poiand Street. 
 
C. E. CLIFFORD, 
 ffiflnufarttirmg MmW Cnlnitrmnti, 
 
 30, PICCADILLY, 
 
 OPPOSITE SAINT JAMES'S CHITRCH. 
 
 CATALOGUE AND PEICE LIST. 
 
 PRINTED BY HENRY M. ARLISS, 442, NEW OXFORD STREET. 
 
 1852. 
 
HENRY M. ARLISS, 
 PRINTER, 
 
 442, NEW OXFORD STREET, LONDON. 
 
C. E. CLIFFORD'S 
 
 SUBSCRIPTION GALLERY OF WATER-COLOUR DRAWINGS, 
 
 30, PICCADILLY, 
 
 OPPOSITE ST. James's church, London. 
 
 C. E. CLIFFORD solicits the attention of Amateurs to his 
 Subscription Gallery of Water-Colour Drawings, which com- 
 prise a very extensive collection in Landscapes, Figures, Marine and 
 Coast Scenery, by the most eminent Masters of the two Societies of 
 Painters in Water Colours, including — 
 
 J. Absalon 
 
 C. Bentley 
 W. Bennett 
 H. Bright 
 Coke Smyth 
 J. Callow 
 W. Callow 
 R. Carrick 
 Geo. Cattermole 
 G. Chambers 
 
 w. collingwood 
 e. corbould 
 David Cox 
 
 D. Cox, JUN. 
 
 G. Davidson 
 
 J. H. D'Egville 
 De Wint 
 
 T. C. DiBDIN 
 
 E. Duncan 
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 Copley Fielding 
 Alfred Fripp 
 Geo. Fripp 
 
 H. Gastineau 
 J. D. Harding 
 L. Haghe 
 
 W. Hunt 
 
 S. P. Jackson 
 
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 H. Jutsum 
 
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 J. H. Mole 
 
 J. Nash 
 
 Oct. Oakley 
 
 Mrs. Oliver 
 
 Wm. Oliver 
 
 C. Pearson 
 Aaron Penley 
 
 P. F. Poole, A. R. A. 
 
 Lake Price 
 
 J. B. Pyne 
 
 T. M. Richardson 
 
 D. Roberts, R.A. 
 T, S. Robins 
 
 T. L. ROWBOTHOM 
 
 W. C. Smith 
 C. Stanfibld, R.A. 
 F. Stone, A. R. A. 
 F. Taylor 
 
 F. W. TOPHAM, &c., &c. 
 
 TERMS OF SUBSCRIPTION— OVER. 
 
€tmB nf iHliBrriptinn. 
 
 2 Guineas, 3 Guineas, and 4 Guineas per Quarter, 
 
 According to the amount of Drawings required at one time. The 
 Drawings to be exchanged as often as required. 
 
 SUBSCRIPTIONS TO BE PAID IN ADVANCE. 
 
 Separate Drawings under the value of £l 1 ... 2s. Od. 
 
 „ 2 2 ... 3 
 
 „ 3 3 ... 4 
 
 „ „ 4 4 ... 4 6 
 
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 And Five per Cent, on any Work exceeding the above amount. 
 
 The Charge for Hire being according to the vahie of the Drawing, 
 for a period not exceeding Seven or Fourteen Days. The value in all 
 cases to be deposited. Drawings detained longer than Fourteen Days 
 will be charged as though again hired. 
 
 drawings damaged must be paid for. 
 
C. E. CLIFFORD, 
 
 MANUFACTURING ARTISTS' COLOURMAK 
 30, PICCADILLY. 
 
 MOIST WATER COLOURS. 
 
 The art of painting in Water Colours has now become so essentially 
 a part of polite education in England, and its study so extended, that 
 C. E. CLIFFOED deems no apology necessary when submitting to 
 the notice of Artists and Amateurs generally the advantages pro- 
 cured by the use of MOIST WATER COLOURS, and the reasons 
 which first caused them to be employed, and now to be so generally 
 adopted by the great body of British Artists — the largest and most 
 eminent school of Water- Colour Painters in the world. 
 
 The introduction of Moist Water Colours into this country took 
 place about eighteen years ago, since which time they have been, with 
 unremitting attention, infinitely improved, and are now brought to the 
 highest perfection. This assertion is evidenced by their being found 
 in the studio of almost every artist, and the out- door companions of 
 all sketchers from nature. The art, it may be afiirmed, has received 
 additional impulse, and has been materially assisted and benefitted by 
 their introduction, as, through them, increased brilliancy, vigour, and 
 power have been obtained, which qualities form the great characteris- 
 tics and charm of the English School. 
 
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 a2 
 
vi 
 
 from their readiness of application, colour is at once produced, which, 
 by the old and tedious method of rubbing the dry cake was impossible ; 
 and not unfrequently the effect, and with it the thought, of the artist, 
 had vanished before the material could be obtained. It is this quality, 
 indeed, which at once brought Moist Colours into note, and which 
 was, and is, the great cause of their popularity with the artist, who, 
 with the evidence of his works before him, produced by their means 
 some twelve or fourteen years ago, perhaps, still uses them as his only 
 materiel. 
 
 C. E. Ci.iFroRD's Moist Water Colours retain their solubility and 
 dampness for an unlimited period, and a box of them, though laid 
 aside for two or three years, will be found, when required again, 
 equally moist and serviceable as when purchased ; these qualities are 
 preserved to the fullest extent in the hottest climates, and they are on 
 this account particularly adapted and recommended to parties going 
 out to INDIA, as the dry cake colours, from the atmosphere and heat 
 there, generally break up and crumble into small pieces, when they 
 are, of course, useless : this never occurs with the Moist Colours, 
 
 The colours are placed in thin porcelain pans, in form and size 
 similar to the usual dry cakes, and they are afterwards enclosed in 
 tin foil for security. When required for use the foil is removed from 
 the pans : they then present a surface of colour which is at once 
 attainable in large or small quantities, by the application of a wet 
 brush. It is strongly recommended to keep the colours in the 
 japanned tin sketching boxes, which are exceedingly light and por- 
 table, and of the nuDst convenient form for use ; the double flaps of 
 the boxes serving as palettes, on which (being japanned ivith flat or 
 dead white) the tints are readily mixed. 
 
 30, Piccadilly, London, 
 
 June, 1852. 
 
%kx tfl Catalogue 
 
 OF 
 
 DRAWING AND WATER COLOUR MATERIALS. 
 
 PAGES 8 TO 32. 
 
 PAGE 
 
 Artists' Pencils, Cumberland Lead 19 
 
 ,, „ Patent Lead 19 
 
 Asphaltum for Water Colours 18 
 
 Boxes for Moist Colours fitted 10 
 
 „ „ in Tubes 9 
 Boxes for Moist or Dry Cake Co- 
 lours , 13 
 
 Bristol Boards 24 
 
 Bronzes 32 
 
 Brushes, Brown Sable Hair 26 
 
 „ Water Colour 26 
 
 ,, Finest Brown Sables 26 
 
 „ Brown Dyed Sables 27 
 
 ,, Water Colour, for Skies... 27 
 
 „ Red Sable, in quill 27 
 
 ,, Camel Hair, in tin 27 
 
 ,, Frencli Siberian 27 
 
 Burnishers 30 
 
 Chinese White 18 
 
 Colossal Drawing Cartridge 20 
 
 Coloured Drawing and Crayon 
 
 Papers 21 
 
 Conte Crayons, Chalks, Charcoal, 
 Chalk Pencils, Lithographic 
 
 Chalk, &c., for Drawing 25 
 
 Creta Levis, or Permanent Draw- 
 ing Chalk Pencils 25 
 
 Drawing Boards, Mahog. Framed 30 
 
 „ „ Deal Framed 30 
 
 Drawing Papers, Whatman's Tur- 
 key Mill 20 
 
 „ „ of extra weights 
 
 and thickness 20 
 
 Drawing Pins, Brass 25 
 
 Easels, Deal and Mahogany 31 
 
 ,, Mahogany Rack 31 
 
 ,, Mahogany Table 31 
 
 Ear-thenware Sundries 28 
 
 Folding Morocco Pouch Cases 29 
 
 Indelible Brown Ink 18 
 
 Indian Glue 32 
 
 Indian Ink 32 
 
 „ „ Liquid 32 
 
 India Rubber 32 
 
 Ivories 25 
 
 PAGE 
 
 Liquid Carmine 32 
 
 Liquid Colours and Mediums 18 
 
 London Boards 24 
 
 Mathematical Instruments ii5 
 
 Millboards, covered with Paper ... 29 
 
 Moist Water Colours 8 
 
 ,, „ „ in Tubes 9 
 
 Mounting Boards Tinted 24 
 
 „ „ White 24 
 
 Ox Gall, Liquid Colourless 18 
 
 „ in Pots 32 
 
 Palette Knives, Ivory 32 
 
 Palettes, China 28 
 
 Parallel Rules, Ebony 29 
 
 Pencils, Camel Hair 27 
 
 Pencil Cases 29 
 
 Portcrayons 29 
 
 Portfolios 21 
 
 Prepared Gum Water 18 
 
 Prout's Liquid Brown 18 
 
 Saucers, Nests of Cabinet 28 
 
 Scrapers and Erasers 32 
 
 Shells, Gold and Silver 32 
 
 Sketching Boards, Mahogany 30 
 
 „ Stools 31 
 
 „ Seat & Easel combined 31 
 
 Sketch Books 23 
 
 Sketching Folios 25 
 
 Sketching Umbrellas 81 
 
 Slabs, Indian Ink and Colour 28 
 
 Solid Sketch Books 22 
 
 „ „ Blocks 23 
 
 Stumps, various 32 
 
 Tiles, Slant Division 28 
 
 ,, Flat Division 28 
 
 Tracing Papers 21 
 
 T Squares 29 
 
 Water Colour Medium 9 
 
 ,, Megilp 18 
 
 Water Colours, whole & half cakes 14 
 
 ,, ,, in Boxes 16 
 
 Water Colour Boxes, Plated 13 
 
 Water Bottles and Cups 13 
 
Catttlngite utiii ^rire tmi 
 
 AGEKT FOR 
 
 WINSOR I NEWTON'S AND NEWMAN'S WATER COLOURS. 
 
 MOIST WATER COLOURS. 
 
 " The Art of Painting in Water Colours has been greatly assisted by 
 improvements in the preparations of the pigments : the greatest advan- 
 tage, however, has been the introduction of moist colours, which, I be- 
 lieve, are a French invention, but greatly improved." — Extract from 
 Mr. Harding's Principles and Practices of Art. 
 
 LIST OF COLOURS AND PRICES. 
 
 PRICE Is. EACH. 
 
 Antwerp Blue 
 Bistre 
 
 Burnt Sienna 
 
 Burnt Roman Ochre 
 
 Brown Pink 
 
 Blue Black 
 
 Burnt Umber 
 
 Brown Ochre 
 
 Chrome Yellows, 1, 2, & 3 
 
 Cologne Earth 
 
 Dragon's Blood 
 
 Emerald Green 
 
 Gamboge 
 
 Hooker's Green, No. 1 
 
 Hooker's Green, No. 2 
 
 Indigo 
 
 Indian Red 
 
 Italian Pink 
 
 Ivory Black 
 
 Lamp Black 
 Light Red 
 Neutral Tint 
 Naples Yellow 
 Olive Green 
 Prussian Blue 
 Prussian Green 
 Payne's Grey 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Sap Green 
 Terre Verte 
 Vandyke Brown 
 Venetian Red 
 Vermilion 
 Yellow Ochre 
 Yellow Lake 
 
 [Continued, 
 
C. E. CLIFFORD, PICCADILLY. 
 
 9 
 
 MOIST WATER COLOURS, 
 Continued. 
 
 WHOLE CAKES, Is. 6d. EACH. 
 
 Sepia 
 
 Warm Sepia 
 Roman Sepia 
 Brown Madder 
 Constant White 
 Chinese White 
 Indian Yellow 
 
 Mars Brown 
 Mars Yellow 
 Crimson Lake 
 Scarlet Lake 
 Purple Lake 
 Scarlet Vermilion 
 
 WHOLE CAKES, 2S. EACH. 
 
 Cobalt Blue. 
 
 WHOLE CAKES, 3S. EACH. 
 
 Green Oxide of Chromium 
 Lemon Yellow 
 French Blue 
 
 Pink Madder 
 Rose Madder 
 Intense Blue 
 
 WHOLE CAKES, 5s. EACH. 
 
 Mars Orange 
 Pure Scarlet 
 Burnt Carmine 
 Smalt 
 
 Purple Madder 
 
 Ultramarine Ash 
 Carmine 
 Gallstone 
 Cadmium Yellow 
 Orange Vermilion, 
 
 WHOLE CAKES, 21s. EACH. 
 
 Genuine Ultramarine. 
 
 MOIST WATER COLOURS IN PATENT 
 COLLAPSIBLE TUBES. 
 
 A iiev/ preparation of Moist Water Colours, particularly adapted for large works, as 
 any quantity of colour can be immediately obtained, thus affording additional facilities 
 for rapidity and increased power ; they present a range of pigments, which, in bril- 
 liancy and similarity of manipulation, much resemble Oil Colours. 
 
 Price per Tube, for each Colour, the same as the Ordinary 
 Moist Colours in Fans. 
 
10 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 JAPANNED TIN SKETCHING BOXES. 
 
 FILLED WITH MOIST COLOURS. 
 
 The following arrangements of Colours are selected from those most 
 in use by the first Water Colour Artists. 
 
 3 Cake BOX^ No. 1. — Light and shade Drawings on Tinted Paper. 
 
 containing Sepia, French Blue, and Chinese White. 
 
 Price 9s. 
 
 6 Cake Box, No. 1. — Assorted for Landscape. 
 
 containing Gamboge, Raw Sienna, Venetian Red, 
 Crimson Lake, Prussian Blue, Vandyke Brown. 
 
 Price iQs. 
 
 DittOy No. 2, — Landscape and Figures. 
 
 containing Vandyke Brown, Indigo, Cobalt, 
 Crimson Lake, Light Red, Indian Yellow. 
 
 Price lis. 6d. 
 
 8 Cake Box, No. 1.— Landscape, 
 
 containing Gamboge, Yellow Ochre, Burnt Sienna, 
 Light Red, Crimson Lake, Cobalt, Indigo, 
 Vandyke Brown. 
 
 Price l3s. 6d. 
 
 No. 3. — Landscape and Figures. 
 
 containing Yellow Ochre, Light Red, Set. Ver- 
 milion, Rose Madder, Cobalt, Madder Brown, 
 Vandyke Brown, Prussian Blue. 
 
 Price 16s. 
 
 10 Cake Box, No. 1.— Landscape. 
 
 containing Gamboge, Yellow Ochre, Burnt Sienna, 
 Venetian Red, Crimson Lake, Vandyke Brown, 
 Olive Green, Neutral Tint, Cobalt, Indigo. 
 
 Price 16s. 
 
 Ditto, 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 11 
 
 10 Cake Box, No. 2. — Landscape and Figures. 
 
 containing Yellow Ochre, Indian Yellow, 
 Burnt Sienna, Light Red, Vermilion, 
 Rose Madder, Cobalt, Prussian Blue, 
 Vandyke Brown, Olive Green. 
 
 Price 18s. 
 
 12 Cake Box, Wo. 1— Landscape. 
 
 containing Gamboge, Yellow Ochre, Light Red, 
 Burnt Sienna, Vermilion, Indian Red, Neutral Tint, 
 Crimson Lake, Cobalt, Indigo, Vandyke Brown, 
 Brown Pink. 
 
 Price 18s. 6d. 
 
 Ditto, Wo 2. — Landscape, Figures, &c. 
 
 containing Gamboge, Indian Yellow, Raw Sienna, 
 Burnt Sienna, Light Red, Scarlet Vermilion, 
 Rose Madder, Purple Lake, Vandyke Brown, 
 Brown Pink, Indigo, French Blue. 
 
 Price £1 2s. 6d. 
 
 14 Cake Box, No. 1.— Landscape. 
 
 containing Gamboge, Yellow Ochre, Indian Yellow, 
 Burnt Sienna, Light Red, Indian Red, 
 Crimson Lake, Madder Brown, Vandyke Brown, 
 Brown Pink, Emerald Green, Neutral Tint, 
 Indigo, Cobalt. 
 
 Price £1 2s. 
 
 Ditto, No. 2. — (Landscape, Figures, &c.) 
 
 containing Gamboge, Yellow Ochre, Indian Yellow, 
 Light Red, Madder Brown, Vandyke Brown, 
 Emerald Green, Olive Green, Neutral Tint, 
 French Blue, Purple Lake, Rose Madder, Indigo, 
 Scarlet Vermilion. 
 
 Price £1 5s. 6d. 
 
12 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 16 Cake Box, No, 1, — Landscape, Figures, &c. 
 
 containing Lemon Yellow, Gamboge, Indian Yellow, 
 Yellow Ochre, Burnt Sienna, Light Red, Vermilion, 
 Rose Madder, Purple Lake, Madder Brown, 
 Vandyke Brown, Olive Green, Emerald Green, 
 Payne's Grey, Indigo, Cobalt. 
 
 Price £1 8s. 6d. 
 
 DittO^ No. 3. — Flowers, Landscape, &c. 
 
 containing Gamboge, Indian Yellow, Gallstone, 
 Chrome No. 1, Vermilion, Indian Red, Pure Scarlet, 
 Rose Madder, Carmine, Burnt Carmine, 
 Vandyke Brown, Ivory Black, Olive Green, 
 Emerald Green, Indigo, French Blue. 
 
 Price £2 2s. 6d. 
 
 18 Cake Box. — Landscape, Figures, &c. 
 
 containing Lemon Yellow, Indian Yellow, Gamboge, 
 Yellow Ochre, Burnt Sienna, Light Red, Vermilion, 
 Rose Madder, Purple Lake, Brown Madder, 
 Olive Green, Vandyke Brown, Emerald Green, 
 Payne's Grey, Cobalt, R. Sienna, French Blue, 
 Indigo. 
 
 Price £1 l3s. 6d, 
 
 20 Cake Box. — complete for Landscape, Flowers, Figures, &c. 
 
 containing Lemon Yellow, Gamboge, Indian Yellow, 
 Yellow Ochre, Chrome No. 3, Vermilion, Light Red, 
 Indian Red, Rose Madder, Carmine, Purple Madder, 
 Vandyke Brown, Sepia, Brown Pink, Sap Green, 
 Emerald Green, Indigo, French Blue, Smalt, 
 Cobalt. 
 
 Price £2 7s, 6d. 
 
 N.B. For any Colour of the foregoing lists, another may be substituted, and if the 
 Colour selected is higher or lower in price, the difference added or deducted. 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 13 
 
 JAPANNED TIN 
 MOIST COLOUR SKETCHING BOXES. 
 
 [with palette flaps.] 
 FOR MOIST OR DRY CAKE COLOURS. 
 
 To hold 3 Cakes 
 6 
 8 
 
 10 
 12 
 14 
 16 
 18 
 20 
 22 
 24 
 
 each 
 
 d. 
 
 
 6 
 
 
 
 6 
 
 
 
 6 
 
 
 
 
 
 6 
 
 
 
 6 
 
 Portable J apan Boxes, size 8| by 3 J, and 1 inch deep, with 
 
 Palette Plaps 6s. 6ci . 
 
 Improved do., with folding Japan Palette, which fits into the 
 
 box, to hold 12, 15, & 20 Tubes . 9s., 9s. 6d., 10s. 6d., 12s. 
 
 Japan Boxes for Moist Colours made to Order, to hold any number 
 of Cakes, and on any plan to suit the Artist's convenience. 
 
 PLATED WATER COLOUR BOXES. 
 
 WATER BOTTLES AND CUPS. 
 
 Japanned Water Bottle, with double Cups, for holding Water 
 in Sketching from Nature, the Cups being attached to the 
 Moist Colour Boxes ... 2s. 6d., 3s., and 3s. 6d. 
 
 Copper Plated Water Bottle and Cups . . 4s. 6d., 5s. 6d., and 7s. 6d. 
 
 B 
 
14 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 WATER COLOURS. 
 
 PREPARED IN CAKES AND HALF CAKES. 
 
 Whole Cakes, Is, each. Half Cakes, 6d. each. 
 
 Antwerp Blue 
 Bistre 
 
 Burnt Sienna 
 
 Brown Pink 
 
 Blue Black 
 
 Burnt Umber 
 
 British Ink 
 
 Brown Ochre 
 
 Burnt Roman Ochre 
 
 Chrome Yellow, 1, 2, & 3 
 
 Cologne Earth 
 
 Dragon's Blood 
 
 Emerald Green 
 
 French Green 
 
 Gamboge 
 
 Green Bice 
 
 Hooker's Green, No. 1 
 Hooker's Green, No. 2. 
 Indigo 
 Indian Red 
 Italian Pink 
 Ivory Black 
 King's Yellow 
 Lamp Black 
 
 Light Red 
 Neutral Tint 
 Naples YelloAv 
 New Blue 
 Olive Green 
 Orpiment 
 Prussian Blue 
 Prussian Green 
 Payne's Grey 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Red Lead 
 Red Ochre 
 Red Chalk 
 Sap Green 
 Terra Yerte 
 Vandyke Brown 
 Venetian Red 
 Vermilion 
 Verdigris 
 Yellow Ochre 
 Yellow Lake 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 WATER COLOURS. 
 
 CONTINUED. 
 
 Whole Cakes, Is. 6d, 
 
 Sepia 
 
 Warm Sepia 
 Roman Sepia 
 Brown Madder 
 Constant White 
 Chinese White 
 Indian Yellow 
 Mars Brown 
 
 Half Cakes, 9d. 
 
 Mars Yellow 
 Crimson Lake 
 Scarlet Lake 
 Purple Lake 
 Chalon's Brown 
 Black Lead 
 Scarlet Vermilion 
 
 Whole Cakes, 2s. Half Cakes, Is. 
 Cobalt Blue 
 
 Whole Cakes, 3s. 
 
 Green Oxide of Chromium 
 Lemon Yellow 
 French Blue 
 
 Half Cakes, Is. 6d. 
 
 Pink Madder 
 Rose Madder 
 Intense Blue 
 
 Whole Cakes, 5s. 
 
 Mars Orange 
 Pure Scarlet 
 Burnt Carmine 
 Smalt 
 
 Purple Madder 
 
 Half Cakes, 2s. 6d. 
 
 Ultramarine Ash 
 Carmine 
 Gallstone 
 Cadmium Yellow 
 Orange Vermilion 
 
 Whole Cakes, 21s. Half Cakes, 10s. 6d. 
 Genuine Ultramarine. 
 
16 
 
 E. CLIFFORD, 30, PICCADILLY, 
 
 C. E. CLIFFORD'S 
 WATER COLOUR BOXES FITTED. 
 
 WATER COLOUR BOXES, 
 
 Of superior workmanship, manufactured of the finest Spanish Maho- 
 gany, or other wood, brass bound, &c., variously fitted with every 
 requisite for Miniature, Figure, or Landscape Painting, Engineering, 
 &c., &c., from £5 5s. to £10. 
 
 HALF CAKE BOXES. 
 
 £ s. d. 
 
 Mahogany slide top, six half cakes, brushes, &c. . . 4 
 
 Ditto, twelve ditto, ditto . . . 7 
 
 Ditto, eighteen ditto, ditto . . . 10 
 
 Twelve half cake box, with lock, brushes, and pencils . 10 6 
 
 Eighteen ditto, ditto 13 
 
 Twelve ditto, with lock, drawer and saucers, brushes, and 
 
 pencil 12 
 
 Eighteen ditto, ditto ditto 15 
 
 Twelve ditto, fitted complete, with palette, division tile, 
 
 brushes, pencils, saucers, &c., &c 14 
 
 Eighteen ditto, ditto ditto 18 
 
 Twelve do., caddy lid, fitted complete, with palette, brushes, 
 
 division tile, pencils, saucers, &c., &c. . . . 18 
 
 Eighteen ditto, caddy lid, ditto ditto , . 12 6 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 17 
 
 WHOLE CAKE BOXES. 
 
 Mahogany slide top, six colours and brushes 
 
 Ditto, twelve ditto .... 
 
 Ditto, eighteen ditto .... 
 
 Mahogany lock boxes, with twelve colours, brushes and 
 pencils 
 
 Ditto, ditto, eighteen colours ditto . 
 
 Ditto, ditto, with twelve colours, drawer, con- 
 taining saucers, brushes, pencil, &c 
 
 Ditto, ditto, eighteen colours ditto 
 
 Ditto, lock and drawer, French polished, twelve cakes, ink 
 slab, water glass, brushes, pencil, &c., complete 
 
 Ditto, ditto, eighteen colours .... 
 
 Ditto, diito, twenty-four colours .... 
 
 Superior Caddy Lid Mahogany boxes, French polished, 
 with twelve cakes (including Cobalt and Madder 
 Brown), ink slab, cut water glass, brushes and pencils, 
 fitted complete . , 
 
 Ditto, ditto, with eighteen colours (including Sepia, 
 Cobalt, and Madder Brown) 
 
 Ditto, ditto, with twenty-four colours (including 
 Chinese White, Sepia, Cobalt, and Madder Brown) . 
 
 Handsome Rosewood Boxes, with twelve colours (in- 
 cluding Madder Brown and Cobalt), fitted very com- 
 plete with cut water glass, ink slab, sable brushes, 
 best gilt Indian ink, ivory pencil rest, &c., &c. 
 
 Ditto, ditto, with eighteen colours, fitted as above . 
 
 Ditto, ditto, with twenty-four colours, fitted as above 
 
 B 2 
 
 £ s. 
 6 
 
 12 
 18 
 
 14 
 
 1 1 
 
 IG 
 
 1 1 
 
 1 1 
 
 1 10 
 
 2 2 
 
 1 10 
 
 2 2 
 
 3 3 
 
 5 
 
 3 
 
 4 
 
18 
 
 C. E. CLIFFOKD, 30, PICCADILLY, 
 
 LiaUID COLOURS AND MEDIUMS. 
 
 CHINESE WHITE. 
 
 A PUEPAKATION OF WHITE OXIDE OF ZINC. 
 
 The most eligible White Pigment for Water Colour Painters. 
 
 IN BOTTLES OR TUBES. Is. 6d. EACH. 
 
 ASPHALTUM. 
 
 PREPARED FOR THE USE OF WATER-COLOUR PAINTERS. IS. Gd. 
 
 PROUT'S LIQUID BROWN. 
 
 A BEAUTIFUL TRANSPARENT BROWN FOR WATER COLOURS. Is. 6d. 
 
 INDELIBLE BROWN INK. 
 
 FOR OUTLINES OR FOR SKETCHING. 1 S. 6d. 
 
 This rich and permanent Ink is found to bo of great service to the Architectural 
 Artist, as the outhne, or ornamental design, drawn with it (even if the Ink be diluted 
 with water to the palest tint), cannot, when dry, be effaced by continued washings. 
 
 WATER COLOUR MEDIUM. 
 
 PREPARED FOR THE USE OF WATER-COLOUR PAINTERS. 2s. 
 
 C. E. CLIFFORD has the honour of introducing to Amateurs and Artists his Water 
 Colour Medium, which has been tested by artists of the first eminence, and used for 
 many years by the membars of the Societies of Painters in Water Colours. 
 
 A most desirable Medium, imparting additional depth, brilliancy, and transparency 
 in Water Colour Painting, improving the working of the colours, and preventing them 
 running one into another. 
 
 COLOURLESS LIQUID OX GALL. 
 
 Price Is. 6d. 
 
 PREPARED GUM WATER. 
 
 Price per Bottle, Small, 6d. Middle, Is. Large, Is. 6d. 
 
OPPOSITE ST. J^VIMES'S CHURCH. 
 
 19 
 
 C. E. CLIFFORD'S ARTISTS' PENCILS, 
 
 MANUFACTURED OF THE PUREST CUMBERLAND LEAD. 
 
 C. E. CLIFFORD begs respectfully to call the especial attention of 
 Amateurs, Artists, Architects, Engineers, Surveyors, &c., to his 
 Drawing Pencils, which are manufactured of the purest Cumberland 
 Lead, warranted to be perfectly free from grit. 
 
 These Pencils are unrivalled for depth, uniformity, and richness of 
 colour, firmness, and delicacy of tint; they are remarkable for the 
 varieties of hardness and evenness of texture, their ready and com- 
 plete erasure, and the truth and certainty to which they are made to 
 answer to the degree or letter they represent, from the HHHH Pencil, 
 for Architect or Wood Engraver's outline, to the BBBBBB for the 
 broadest and deepest tones required in Pencil Drawing. 
 
 H Moderately hard (used for light sketching) 
 HH A degree harder (for outlines and fine drawings) 
 HHH Very hard (for architectural drawing) .... 
 HHHH Extremely hard (for Engineering, or Drawing on Wood) 
 
 FF Used for light shading 
 
 F Fine drawing (firm) , 
 
 HB Hard and black (deeper shade than F) . . . . 
 B Black (for shading, or for free sketching) 
 
 B3 Softer ditto (for deep shading) 
 
 BBB Intensely Black (for extra deep shading) broad lead, Is each 
 BBBB With very broad lead, Is. Gd. each, 15s. per dozen. 
 BBBBBB Very thick Lead 2s. each, SOs. per dozen. 
 
 PATENT LEAD DRAWING PENCILS, 
 
 MANUFACTURED OF COMPRESSED PREPARED PLUMBAGO. 
 
 HHHH Extremely hard 
 
 HHH Very hard 
 
 HH Hard . 
 
 H Rather hard 
 
 FF Used for light shading .... ) 
 
 F Free Working 
 
 HB Hard and black 
 
 B Black for shading 
 
 BB Soft and black 
 
 BBB Very Black . . . ud. each. 5s, per dozen. 
 
 BBBB A'cry oLu k . . . 9d. each. 7s. Od. per dozen. 
 
 BBBBBB Very thick lead and black Is. each. 10s. per dozen. 
 
 These Pencils possess nearly all the best qualities of the old genuine 
 Cumberland Lead. They are ^vell adapted for drawing masters, schools 
 and students. 
 
 10s, per dozen. 
 
20 
 
 C. E. CLIFFOED, 30, PICCADILLY, 
 
 WHATMAN'S TURKEY MILL DRAWING PAPER. 
 
 (or THE BEST QUALITY.) 
 
 
 SIZE. 
 
 per sheet. 
 
 per quire. 
 
 
 in. in. 
 
 s. d. 
 
 £, s. d. 
 
 Demy 
 
 20 by 15 
 
 .02 
 
 3 6 
 
 Royal 
 
 24 „ 19 
 
 .04 
 
 5 6 
 
 Imperial . 
 
 30 „ 21 . 
 
 .06 
 
 8 6 
 
 Columbier 
 
 34 „ 23 
 
 .08 
 
 13 6 
 
 Double Elephant 40 „ 27 
 
 . 10 
 
 16 
 
 Antiquarian 
 
 52 „ 31 
 
 .36 
 
 3 10 
 
 All these Papers are kept hotpressed at the same prices. 
 
 DRAWING PAPERS OF EXTRA WEIGHTS AND THICKNESS. 
 
 
 per 
 
 slieet. 
 
 per quire. 
 
 
 s. 
 
 d. 
 
 £ 
 
 s. 
 
 d. 
 
 Whatman's Imperial, stout, weighing 90lbs. to 
 
 
 
 
 
 
 the ream 
 
 
 
 6 . . 
 
 
 
 10 
 
 
 
 Ditto, extra stout „ llOlbs 
 
 
 
 9 . , 
 
 
 
 14 
 
 
 
 Ditto, very thick „ 140lbs 
 
 1 
 
 . . 
 
 
 
 18 
 
 
 
 Ditto, Double Elephant, stout 
 
 1 
 
 3 . . 
 
 
 
 18 
 
 
 
 Ditto, Double Elephant, extra thick 
 
 1 
 
 6 . . 
 
 1 
 
 10 
 
 
 
 Ditto, Harding's Pure Paper, stamped J.D.H." 
 
 
 
 6 . . 
 
 
 
 10 
 
 
 
 Ditto, „ extra thick, ditto 
 
 1 
 
 . . 
 
 1 
 
 
 
 
 
 Imperial Engineer's Drawing Cartridge, thick 
 
 
 
 4 . . 
 
 
 
 6 
 
 6 
 
 Ditto, ditto, ditto, thin 
 
 
 
 3 . . 
 
 
 
 4 
 
 6 
 
 
 
 
 3 . . 
 
 
 
 4 
 
 6 
 
 Extra Qualities of WHATMAN'S DRAWING PAPERS with parti- 
 cular Surfaces, rough or smooth, as used by the most eminent artists. 
 
 C. E. CLIFFORD'S 
 COLOSSAL DRAWING CARTRIDGE PAPER. 
 
 Price 1 s. 6(1. the yard of 4 feet 6 inches wide. 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 21 
 
 COLOURED DRAWING AND CRAYON PAPERS. 
 
 per sheet. per quire. 
 
 MACHINE MADE CRAYON PAPER. 
 
 Imperial, Size 30 in. by 21 , . . 4d. . . 7s. 
 
 Ditto, ditto, hand made, adapted for 
 
 Academy Drawing and water colours . 6d. . . 9s. 
 
 TRACING PAPERS. 
 
 Double Crown, Yellow or Blue Wove, 
 
 SIZE, 
 in. in. 
 
 30 by 20 
 
 per sheet, 
 s. d. 
 4 . 
 
 per quire. 
 £ s. d. 
 .066 
 
 Double double Crown, do. 
 
 40 „ 30 
 
 
 
 6 . 
 
 . 
 
 9 
 
 
 
 Double double double Crown, do. 
 
 60 „ 40 
 
 1 
 
 . 
 
 . 
 
 18 
 
 
 
 French Tracing Paper 
 
 
 
 
 6 . 
 
 . 
 
 9 
 
 
 
 Crystal Tracing Paper, double cr. size 
 
 30 „ 20 
 
 
 
 6 . 
 
 . 
 
 9 
 
 
 
 Transfer Paper, Black or Red 
 
 22 „ 18 
 
 
 
 6 . 
 
 . 
 
 9 
 
 
 
 PORTFOLIOS. 
 
 Silk Strings, Leather Backs, Corners, and Cloth Sides, made in a 
 Superior Manner, extra stout Boards. 
 
 With Holland flaps, 
 s. d. s. d. 
 
 4to. Imperial, 
 
 1 5 inches by 1 1 
 
 . each 2 
 
 3 . 
 
 3 
 
 
 
 Music size, 
 
 16 
 
 
 11 
 
 2 
 
 6 . 
 
 3 
 
 6 
 
 i Medium, 
 
 18 
 
 5? 
 
 12 
 
 3 
 
 . 
 
 4 
 
 
 
 ^ Royal, 
 
 20 
 
 
 13 
 
 4 
 
 . 
 
 5 
 
 
 
 Demy, 
 
 21 
 
 
 16 
 
 4 
 
 6 . 
 
 6 
 
 
 
 ^ Imperial, 
 
 22 
 
 5? 
 
 16 
 
 5 
 
 . 
 
 6 
 
 6 
 
 Medium, 
 
 23 
 
 ?5 
 
 18 
 
 6 
 
 . 
 
 7 
 
 6 
 
 Royal, 
 
 25 
 
 
 20 
 
 7 
 
 . 
 
 9 
 
 6 
 
 Super Royal, 
 
 27 
 
 J> 
 
 20 
 
 8 
 
 6 . 
 
 . 11 
 
 6 
 
 Imperial, 
 
 31 
 
 5? 
 
 22 
 
 12 
 
 6 . 
 
 15 
 
 6 
 
 Atlas, 
 
 30 
 
 ?J 
 
 29 
 
 15 
 
 . 
 
 . 18 
 
 
 
 Columbier, 
 
 36 
 
 )) 
 
 24 
 
 18 
 
 . 
 
 22 
 
 
 
 Dble. Elephant 
 
 40 
 
 >> 
 
 28 
 
 . 26 
 
 . 
 
 . 30 
 
 
 
22 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 SOLID SKETCH BOOKS. 
 
 These Books consist of a number of sheets of paper, compressed so 
 as to form an apparent solid substance: each sheet can, however, be 
 immediately separated, by passing a knife round the uppermost 
 surface. 
 
 C. E. Clifford's Solid Sketch Books are all made of stout and 
 extra thick Drawing Papers, as being better adapted for Water-Colour 
 Painting. A large stock and great variety are constantly kept, con- 
 taining the papers used by the most eminent artists, including Mr. 
 Harding, Mr. Dewint, Mr. Copley Fielding, &c., &c. 
 
 Solid Sketch Books made of any Paper, and to any required size, on the 
 shortest notice. 
 
 SOLID SKETCH BOOKS. 
 
 Half-bound, with leather backs. Pocket for the Sketches when removed 
 from the Block, and a place for Pencil. 
 
 WHITE PAPER. 
 
 s. d. 
 
 32mo. Lnperial, 5 inches by 3^ . half-bound 2 6 
 
 16mo 
 
 do. 
 
 7 
 
 „ 5 . . 
 
 
 3 
 
 6 
 
 8vo. 
 
 do. 
 
 10 
 
 „ 7 . . 
 
 
 6 
 
 
 
 4to. 
 
 do. 
 
 14 
 
 „ 10 . 
 
 
 12 
 
 
 
 
 do. 
 
 20 
 
 „ 14 . 
 
 
 21 
 
 
 
 16mo. 
 
 Royal 
 
 
 4i . . 
 
 
 2 
 
 9 
 
 8vo. 
 
 do. 
 
 9 
 
 5i . . 
 
 
 4 
 
 6 
 
 4to. 
 
 do. 
 
 m 
 
 „ 9 . . 
 
 TINTED PAPER. 
 
 
 9 
 
 
 
 16mo. Imperial, 7 inches by 5 . 
 
 
 3 
 
 
 
 8vo. 
 
 do. 
 
 10 
 
 7 . . 
 
 )? 
 
 5 
 
 
 
 4to. 
 
 do. 
 
 14 
 
 10 . 
 
 
 10 
 
 
 
 
 do. 
 
 20 
 
 „ 14 . . 
 
 
 18 
 
 
 
OPPOSITE ST. JAMES'S CHUKCH. 
 
 23 
 
 SOLID SKETCH BOOKS. 
 
 BLOCKS WITHOUT BINDING. 
 
 WHITE AND TINTED. 
 
 White. Tinted, 
 
 s. d, s. d. 
 
 32mo. Imperial, 5 inches by 3^ . . 1 6 . . 1 3 
 
 16mo. 
 
 do. 
 
 7 
 
 5) 
 
 5 
 
 2 
 
 3 . 
 
 . 2 
 
 
 
 8vo. 
 
 do. 
 
 10 
 
 7? 
 
 7 
 
 4 
 
 6 . 
 
 . 4 
 
 
 
 4to. 
 
 do. 
 
 14 
 
 5> 
 
 10 
 
 9 
 
 
 
 . 8 
 
 
 
 h 
 
 do. 
 
 20 
 
 J) 
 
 14 
 
 . 16 
 
 
 
 . 15 
 
 
 
 16mo. 
 
 Royal, 
 
 5i 
 
 5? 
 
 4i 
 
 1 
 
 9 
 
 
 
 8vo. 
 
 do. 
 
 9 
 
 ?? 
 
 5i 
 
 3 
 
 6 
 
 
 
 4to. 
 
 do. 
 
 Hi 
 
 5> 
 
 9 
 
 7 
 
 6 
 
 
 
 SKETCH BOOKS. 
 
 MADE OF THE BEST DRAWING PAPER. 
 
 Stitched. Com. half bd. 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 32mo. 
 
 Imperial, 5 inches by 3i 
 
 
 
 6 , 
 
 . 
 
 9 
 
 16mo. 
 
 ditto, 7 „ 5 
 
 
 
 9 
 
 1 
 
 
 
 8vo. 
 
 ditto, 10 „ 7 
 
 1 
 
 3 . 
 
 1 
 
 6 
 
 4to. 
 
 ditto, 14i „ 10 
 
 2 
 
 6 . 
 
 3 
 
 
 
 SKETCH BOOKS. 
 
 Neatly half-bound, roan backs and corners, 40 leaves, made of the 
 Best Drawing Paper, white or tinted. 
 
 s. d. 
 
 32mo. Imperial, 5 inches by 3^ . . . each 1 6 
 
 16mo. ditto, 7 „ 5 2 6 
 
 8vo. ditto, 10 „ 7 4 6 
 
 4to. ditto, 141 „ 10 ..... 8 
 
 The Imperial sizes, as 5 by 3^, 7 by 5, 10 by 7, and 14 J by 10, are all 
 kept with Tinted Papers, as well as White. 
 
24 
 
 C. E. CLIFFOKD, 30, PICCADILLY, 
 
 SUPERFINE LONDON BOARDS. 
 
 These Boards are manufactured of Whatman's finest Drawing 
 Paper, and are adapted for Pencil Drawing, Plower Painting, Minia- 
 tures, &c. 
 
 THICKNESS. 
 2 sheets. 3 sheets. 4 sheets. 6 sheets. 
 
 SIZE. 
 
 
 S. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 Foolscap, 15in. byl2 
 
 each 
 
 
 
 4 . 
 
 
 
 5 . 
 
 
 
 7 
 
 
 
 10 
 
 Demy, 18 „ 14 
 
 )> 
 
 
 
 5 .. 
 
 
 
 8 .. 
 
 
 
 10 
 
 1 
 
 3 
 
 Medium, 20^ „ 15^ 
 
 5J 
 
 
 
 7 
 
 
 
 10 ., 
 
 1 
 
 2 .. 
 
 1 
 
 8 
 
 Royal, 22^ „ 17^ 
 
 
 
 
 8 . 
 
 1 
 
 . . 
 
 1 
 
 4 .. 
 
 2 
 
 
 
 Imperial, 28 „ 20 
 
 11 
 
 1 
 
 3 
 
 2 
 
 .. 
 
 2 
 
 6 
 
 3 
 
 9 
 
 BRISTOL BOARDS. 
 
 Manufactured of fine Drawing Paper, and used for the same purposes 
 as the London Boards, being a second quality of the same article. 
 
 SIZE. 
 
 Foolscap, 15in. by 12 . each 
 
 Demy, 18 „ 14 . „ 
 
 Medium, 20^ „ 15^. „ 
 
 Royal, 22i „ 17^. „ 
 
 Imperial, 28 „ 20 . „ 
 
 THICKNESS. 
 2 sheets. 3 sheets. 4 sheets. 6 sheets, 
 
 s. d. s. d. s. d. s. d. 
 
 3..0 4..0 5..0 8 
 
 4..0 6..0 7..1 
 
 5 .. 7 .. 9 .. 1 2 
 
 6..0 9..1 0..1 6 
 
 1 0..1 6. .2 2.. 3 
 
 MOUNTING BOARDS. 
 
 These Boards are used for mounting Water Colour and other Draw- 
 ings ; they are made either white or tinted, a good variety of the latter 
 being always kept in stock. 
 
 THICKNESS. 
 
 3 sheets. 4 sheets. 6 sheets. 
 SIZE. s. d. s. d. s. d. 
 
 Demy, 1 Sin, by 14 . . each 6..0 8.. Oil 
 Royal, 22| „ 17J . . „ 7 .. 9 .. 1 1 
 
 Imperial, 28 „ 20 . . „ 11 .. 1 3 .. 1 9 
 
 WHITE MOUNTING BOARDS. 
 
 A capital second quality Mounting Board, and from their extreme 
 cheapness are well suited for mounting Sketches and School Studies. 
 
 SIZE. 
 
 Demy, 18in. by 14 
 Royal, 22i „ 17 i 
 Imperial, 28 20 
 
 per dozen 
 11 
 
 THICKNESS. 
 
 3 sheets. 4 sheets. 6 sheets, 
 s. d. s. d. s. d. 
 
 3 6 .. 4 6 .. 7 
 
 4 6 .. 5 6 .. 7 6 
 7 .. 9 .. 14 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 25 
 
 SELECTED IVORIES OF THE BEST QUALITY. 
 
 READY PREPARED POR MINIATURE PAINTING. 
 
 
 
 SIZE. 
 
 
 
 
 
 
 SIZE. 
 
 
 
 No. 
 
 
 
 
 s. 
 
 d. 
 
 No. 
 
 
 
 S. 
 
 d. 
 
 
 
 2 inches by ij . 
 
 . 
 
 4 
 
 7 
 
 
 inches by 3^ . 
 
 . 2 
 
 6 
 
 1 
 
 H 
 
 55 
 
 2 . 
 
 . 
 
 6 
 
 8 
 
 ^8 
 
 „ H • 
 
 . 3 
 
 3 
 
 2 
 
 2f 
 
 5> 
 
 
 . 
 
 9 
 
 9 
 
 4t 
 
 „ 3f . 
 
 . 4 
 
 
 
 3 
 
 2| 
 
 55 
 
 n . 
 
 . 1 
 
 
 
 10 
 
 5* 
 
 „ 4^ . 
 
 . 5 
 
 6 
 
 4 
 
 3* 
 
 ?5 
 
 
 . 1 
 
 4 
 
 11 
 
 5i 
 
 
 7 
 
 6 
 
 5 
 
 3| 
 
 J? 
 
 
 . 1 
 
 9 
 
 12 
 
 6* 
 
 45 
 
 9 
 
 6 
 
 6 
 
 3i 
 
 )J 
 
 91 
 
 -s • 
 
 . 2 
 
 
 
 
 
 
 
 
 IVORIES OF LARGE SIZES PREPARED AT A SHORT NOTICE. 
 
 MATHEMATICAL INSTRUMENTS. 
 
 In Mahogany Cases .... from 3s. to 25So 
 In Mahogany Cases, German Silver . from 15s. to 80s. 
 
 Brass Drawing Pins for Fastening down Paper, 
 
 9c?., Is., AND Is. 6c?. PER DOZEN. 
 
 SKETCHING FOLIOS. 
 
 WITH TIN FRAMES, FOR HOLDING DOWN THE DRAWING PAPER 
 SECURELY, HALF-BOUND, LEATHER TUCK, AND POCKET FOR CONTAIN- 
 ING THE LOOSE SKETCHES AND RESERVE OF PAPER. 
 
 s, d. 
 
 8vo. Imperial, 11 inches by 7i . . . .50 
 4to. Royal, 12 „ 9i .... 6 
 '4to, Imperial, 15 .. 11 . . . ,76 
 i do. 22 „ 15 . . , . 13 6 
 
 CONTE CRAYONS, CHALKS, CHARCOAL, CHALK PENCILS, 
 LITHOGRAPHIC CHALK, &c., FOR DRAWING, 
 
 GRETA LEVIS, or PERMANENT DRAWING CHALK PENCILS, 
 
 INCLUDING A GREAT VARIETY OF COLOURS. 
 S. d. 
 
 Boxes containing 12 . 7 
 18 . 10 
 „ 24 . 14 
 
 Boxes containing 36 
 48 
 
 s. d. 
 21 
 28 
 
 c 
 
26 
 
 C. E. CLIFFOED, 30, PICCADILLY, 
 
 SUPERIOR FRENCH SABLE BRUSHES. 
 
 FOR WATER COLOUR PAINTING. 
 
 BROWN SABLE HAIR. 
 
 s. d. 
 
 Crow Quill 6 
 
 Duck Quill 8 
 
 Goose Quill 10 
 
 Extra Small Swan Quill . ... 2 6 
 
 Small Swan Quill 3 6 
 
 Middle Swan Quill 5 
 
 Large Swan Quill 7 6 
 
 Extra Large Swan and Eagle Quill, from 10s. to £2 2s. 
 
 C. E. CLIFFORD solicits especial attention to his stock of Water 
 Colour Sable Brushes, which will be found most complete, and of the 
 finest Quality being selected with the greatest care from the best makers 
 in Paris. 
 
 WATER COLOUR BRUSHES. 
 
 IN GERMAN SILVER FERRULES, WITH POLISHED EBONY HANDLES 
 FLAT OR ROUND 
 
 Red Sable, 
 s. d. s. d. 
 
 No. 1 . . 1 I No. 4 .. 1 9 No. 1 , 
 
 2. .13 5. .20 2 
 
 3. ,16 6. .23 3 
 
 Brown Sable. 
 
 s. d. s. d. 
 
 ] 3 I No. 4 .. 2 
 
 16 5 . . 2 3 
 
 19 6 . . 2 6 
 
 FINEST BROWN SABLES. 
 
 LARGE SIZE, IN GERMAN SILVER FERRULES, WITH LONG POLISHED 
 EBONY HANDLES. 
 
 Bound. 
 
 No. 1 
 2 
 3 
 4 
 5 
 6 
 
 5 
 
 7, 
 10 
 12 
 14 
 17 
 
 d. 
 
 6 
 
 6 
 6 
 6 
 
 Flat. 
 
 No. 1 
 
 2 
 3 
 4 
 5 
 6 
 
 s. d. 
 
 4 
 
 6 6 
 
 8 
 
 10 
 
 12 6 
 
 15 
 
OPPOSITE ST. JAMES'S CHURCH. 
 
 27 
 
 RED SABLE BRUSHES. 
 
 s. cl. 
 
 Large Swan Quill 4 6 
 
 Middle ditto 3 6 
 
 Small ditto 2 6 
 
 Extra small ditto 2 
 
 Goose Quill 9 
 
 Duck ditto 6 
 
 Crow ditto 4 
 
 Pigeon ditto for Lithography . . .03 
 The form and sizes of these Brushes correspond with the Brown Sables. 
 
 WATER COLOUR BRUSHES. 
 
 FOR SKIES, WASHES, AND LARGE WORKS. 
 
 Large Round Wire-bound Brush, made of Siberian Hair, a most useful 
 Brush where large washes of colour are required. 
 
 Price 3s. 6d. 
 
 Large Flat Brush, in Tin, made of Dyed Sable Hair, suitable for skies 
 foregrounds, and large works 
 
 Price 3s. 6d, 
 
 FRENCH SIBERIAN BRUSHES. 
 
 TIED WITH SILVER WIRE. 
 
 Large Swan Quill 
 Middle ditto 
 Small ditto 
 Goose ditto 
 Duck ditto 
 Crow ditto 
 
 each 
 
 s. d. 
 
 2 6 
 
 1 6 
 
 1 
 
 3 
 
 2 
 
 1 
 
 These Brushes correspond in size and form ivith the Sables in QuilL 
 
 CAMEL HAIR BRUSHES IN TIN. 
 
 Flat, 8d. per inch. | Round, 4d. to Is. 9d. 
 
 CAMEL HAIR PENCILS. 
 
28 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 EARTHENWARE SUNDRIES. 
 
 
 CHINA PALETTES. 
 
 
 OVAL. 
 
 s. d. 
 
 OBLONG. 
 
 s 
 
 3 Inch 
 
 4 
 
 3 Inch 
 
 
 
 4 „ . . 
 
 6 
 
 4 „ . . . 
 
 
 
 5 „ . . 
 
 8 
 
 5 „ . , . 
 
 
 
 6 „ . . 
 
 9 
 
 6 „ • . . 
 
 
 
 
 10 
 
 7 „ . . . 
 
 1 
 
 8 „ . . 
 
 1 
 
 8 „ . . . 
 
 1 
 
 9 „ . . 
 
 1 3 
 
 9 „ . . . 
 
 1 
 
 10 „ . . 
 
 1 6 
 
 10 „ . . . 
 
 1 
 
 
 SLANT DIVISION TILES. 
 
 
 
 s. d. 
 
 
 s. 
 
 3 Divisions 
 
 6 
 
 8 Divisions 
 
 1 
 
 4 
 
 9 
 
 10 „ . . 
 
 1 
 
 5 „ 
 
 10 
 
 12 „ . . 
 
 1 
 
 6 
 
 1 
 
 12, with Well 
 
 2 
 
 
 FLAT DIVISION TILES. 
 
 
 
 s. d. 
 
 
 s. 
 
 2 Squares 
 
 6 
 
 6 Squares 
 
 1 
 
 3 „ 
 
 8 
 
 9 „ . . 
 
 1 
 
 •i „ 
 
 10 
 
 12 „ . . 
 
 1 
 
 INDIAN INK AND COLOUR SLABS. 
 
 No. 3, 6d.. I No. 10, 8d. | No 11, 9d= | No. 12, Is. | No. 13, 2s. 
 
 NESTS OF CABINET SAUCERS.— SIX IN A SET. 
 
 
 
 
 Ditto in Morocco Cases- 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 No. 1 
 
 1 
 
 6 
 
 No. 1 ... 3 
 
 
 
 2 
 
 1 
 
 9 
 
 2 ... 3 
 
 6 
 
 3 
 
 2 
 
 
 
 3 ... 4 
 
 
 
 Tinting Saucers, various sizes. 
 
 Bartholomew, or Rough China Tiles. 
 
 Plain China Tiles, 4, 5, 6, 7, 8, 9, and 10 inches square. 
 
 China Ware in every Variety used by the Artists. 
 
OPPOSITE ST. JAMES'S CHURCH, 
 
 29 
 
 MAHOGANY AND ROSEWOOD T SQUARES. 
 
 WITH FIXED AND MOVING STOCKS. 
 
 Mahogany. Rosewood. 
 
 
 Fixed 
 
 Moving 
 
 Fixed 
 
 Moving 
 
 
 Stock. 
 
 Stock. 
 
 Stock. 
 
 Stock. 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. d. 
 
 12 inches long 
 
 1 
 
 9 
 
 2 
 
 6 
 
 2 
 
 6 
 
 3 6 
 
 15 
 
 2 
 
 
 
 3 
 
 
 
 2 
 
 9 
 
 4 
 
 IB „ 
 
 2 
 
 3 
 
 3 
 
 6 
 
 3 
 
 
 
 4 6 
 
 21 „ 
 
 2 
 
 6 
 
 4 
 
 
 
 3 
 
 3 
 
 5 
 
 24 „ 
 
 2 
 
 9 
 
 4 
 
 6 
 
 3 
 
 6 
 
 5 6 
 
 27 „ 
 
 3 
 
 
 
 5 
 
 
 
 3 
 
 9 
 
 6 
 
 30 „ 
 
 3 
 
 3 
 
 5 
 
 6 
 
 4 
 
 
 
 6 6 
 
 33 „ 
 
 3 
 
 6 
 
 6 
 
 j 
 
 4 
 
 6 
 
 7 
 
 36 „ 
 
 4 
 
 
 
 6 
 
 6 1 
 
 .5 
 
 
 
 7 6 
 
 EBONY PARALLEL RULES. 
 
 
 s, d. 
 
 
 s. 
 
 6 inch 
 
 1 3 
 
 15 inch 
 
 3 
 
 9 „ 
 
 1 9 
 
 18 „ 
 
 3 
 
 12 „ 
 
 2 6 
 
 24 „ 
 
 5 
 
 PORTCRAYONS. 
 
 Steel and Brass Portcrayons . . from 6d. to 2s. each. 
 Albata Portcrayons, from 8d. to Is. 6d. each. 
 
 PREPARED MILLBOARDS. 
 
 STRAINED WITH STOUT DRAWING PAPER. 
 
 PENCIL CASES. 
 
 LEATHER AND CLOTH, 
 
 Flat Pencil Cases, a variety of sizes, to contain different numbers of 
 Drawing Pencils. 
 Folding Morocco Pouch Cases, for Pencils, Sables, &c., 
 2s. ed., 3s. 6d., to 7s. 6d. 
 
30 
 
 C. E. CLIFFORD, 30, PICCADILLY, 
 
 MAHOGANY FRAMED DRAWING BOARDS. 
 
 
 SIZE. 
 
 
 s. 
 
 d. 
 
 4to Demy 
 
 8 inches by 6 
 
 3 
 
 6 
 
 4to Roy3,l . 
 
 10 J 
 
 
 8 
 
 4 
 
 
 
 4to Imperial 
 
 13 
 
 
 
 5 
 
 
 
 4to Colombier 
 
 15 
 
 ?? 
 
 11 
 
 6 
 
 
 
 i Royal 
 
 17 
 
 
 lOj 
 
 6 
 
 6 
 
 Demy 
 
 18 
 
 
 13i 
 
 7 
 
 6 
 
 ^ Imperial 
 
 19 
 
 
 13i 
 
 Q 
 
 o 
 
 U 
 
 Medium 
 
 20 
 
 
 15 
 
 9 
 
 
 
 Royal 
 
 22 
 
 57 
 
 17 
 
 10 
 
 
 
 Imperial 
 
 28 
 
 
 19 
 
 14 
 
 
 
 J Antiquarian 
 
 28 
 
 ?9 
 
 23 
 
 18 
 
 
 
 Colombier 
 
 32 
 
 
 21 
 
 20 
 
 
 
 DEAL DRAWING BOARDS. 
 
 
 
 
 CLAMPED. 
 
 
 
 
 4to Royal 
 
 10^ 
 
 5? 
 
 8 
 
 1 
 
 u 
 
 4to Imperial 
 
 13 
 
 J) 
 
 
 
 4, 
 
 4to Colombier 
 
 15 
 
 ?7 
 
 11 
 
 i 
 
 
 ^ Royal 
 
 17 
 
 55 
 
 lOj 
 
 2 
 
 
 
 Demy 
 
 18 
 
 55 
 
 13i 
 
 2 
 
 3 
 
 J Imperial 
 
 19 
 
 >5 
 
 13i . 
 
 o 
 
 
 
 Medium 
 
 20 
 
 )J 
 
 15i . 
 
 3 
 
 
 
 Royal 
 
 22 
 
 55 
 
 17 
 
 3 
 
 3 
 
 Imperial 
 
 28 
 
 55 
 
 19 
 
 4 
 
 
 
 Imperial, full size . 
 
 30 
 
 55 
 
 21 
 
 4 
 
 6 
 
 Colombier 
 
 32 
 
 55 
 
 21 
 
 5 
 
 
 
 Atlas 
 
 31 
 
 55 
 
 24 
 
 7 
 
 
 
 Dble. Elephant 
 
 38 
 
 55 
 
 24 
 
 8 
 
 
 
 Antiquarian 
 
 50 
 
 55 
 
 29 
 
 11 
 
 
 
 MAHOGANY SKETCHING BOARDS, with Pins and Frame, for 
 holding securely the Drawing Paper when strained. 
 4to Imperial . . 15 inches by 10 J . . 7 
 i „ . . 21 „ 15 . , 11 6 
 
OPPOSITE ST. JAMES'S CHURCH. 31 
 
 SKETCHING STOOLS. 
 
 s. d. 
 
 Enclosed Seat, 18, 21, and 24 Inch 6s. 6d., 7s. Od., and 7 6 
 
 Loose Seat, 18, 21, and 24 Inch 5s. Od., 5s. 6d., and 6 
 
 Walking Stick Sketching Seat 7 6 
 
 Screw top ditto 9 
 
 Sketching Umbrellas . . £1 5s. 
 
 THE GERMAN 
 SKETCHING SEAT AND EASEL COMBINED. 
 
 The Easel when closed occupies a space of 24 in. by 13 and perfectly flat. 
 Price 2 Is. 
 
 SKETCHING SEAT AND EASEL COMBINED, 
 
 ADAPTED FOR EITHER LADIES OR GENTLEMEN. 
 
 A new and very clever arrangement, and the most convenient and pleasant Apparatus 
 ever introduced for the use of the Lady Sketcher. 
 
 This Easel folds up in a similar manner to the German Sketching Seat, as men- 
 tioned above, and occupies the same space. By a very simple contrivance the Desk is 
 immediately attached to the Seat, and removed at the pleasure of the Sketcher. 
 
 Price 30s. 
 
 DEAL AND MAHOGANY EASELS. 
 
 s. d. 
 
 Deal closing Easel, 6 feet high 7 
 
 Mahogany ditto ditto 10 6 
 
 Deal Folding Portable Easel 14 
 
 Mahogany ditto 21 
 
 Deal Pramed or Standing Easel 12 
 
 Mahogany ditto . . . . . . . 16 
 
 Mahogany Rack Easels, from 26s. to 84s. 
 MAHOGANY RACK EASEL. 
 
 FOR WATER COLOUR PAINTING, 
 OR WITH THE DESK REMOVED, FOR OIL PAINTING. 
 INVENTED BY H. CORBOULD, ESQ. 
 
 MAHOGANY TABLE EASELS, 
 
32 
 
 C. E. CLIFPORD, 30, PICCADILLY. 
 
 GOLD AND SILVER SHELLS. 
 
 Gold Shells . . each Is. | Silver Shells 
 Liquid Gold Ink in Bottles. Is. 6d. 
 
 each 
 
 INDIA RUBBER. 
 
 6d. 
 
 to 
 
 MISCELLANEOUS. 
 
 Liquid Carmine 
 Burnishers, various shapes 
 Scrapers and Erasers 
 Reed Pens 
 Ox-Gall, in Pots 
 
 Pearl Cement, for mounting Drawings, and for 
 Fancy Card-Board Work 
 
 Sponge, small pieces .... 
 
 Ivory Palette Knives .... 
 
 Ivory Pencil Rests ..... 
 
 Crow^ Pens . . (in bundles of 25) 
 
 Indian Glue 
 
 Mordan's Leads for ever-pointed Pencil Cases, 
 
 marked H. M. & S. . . . . per packet 
 
 Gold, Silver, and Copper Bronzes . per packet of 1 oz. 
 
 Indian Ink, Best Gilt . . . ,1s,, 2s,, 3s., 4s. and 
 
 Liquid Indian Ink per bottle 
 
 Stumps, Leather and Paper, in great variety. 
 
 Ditto, Cork. 
 
 per bottle 
 from, each 
 from Is. 
 per doz. 
 each 8d. and 
 
 per bottle 
 each 8d. and 
 „ Is. and 
 6d. and 
 
 per stick 
 
 d. 
 
 6 
 
 
 6 
 
 
 
 6 
 
 6 
 
 6 
 3 
 
 
 
 
 
 6 
 
 C. E. CLIFFORD 
 
 MANUFACTURES ALL THE 
 
 ffiatmals xt\\mni in M ^ninting, 
 
 (or WHICH A DISTINCT CATALOGUE IS PUBLISHED) 
 
 30, PICCADILLY, LONDON. 
 
WORKS PUBLISHED BY WIIVSOR AIVD IVEWTOX. 
 
 Tenth Edition, Price \s. 
 THE ART OF 
 
 LANDSCAPE PAINTING IN WATER-COLOURS. 
 
 BY THOMAS ROWBOTHAM, AND THOMAS L. ROWBOTHAM, JUN. 
 
 Tenth Edition, Price \s. 
 A SYSTEM OP WATER-COLOUR PAINTING. 
 
 BY AARON PENLEY, 
 
 BEING A SEQUEL TO MR. ROWBOTHAm's BOOK AS ABO|VE. 
 
 Fifth Edition, Price \s. 
 INSTRUCTIONS IN 
 THE ART OP FIGURE DRAWINC^. 
 
 BY C. H. WEIGALL. 
 
 ContamiTtfl 16 Kllugtrattons, ©rabin on SSScoti t]^e ^utf)or, anU CHnsrafaetJ Jjg Wi. (B^Mmoxi* 
 
 Fourth Edition, Price \s, 
 THE ART OF 
 
 PORTRAIT PAINTING IN WATER-COLOURS. 
 
 BY MRS. MERRIFIELD. 
 
 ' Eighth Edition, Price Is. 
 INSTRUCTIONS IN THE ART OF ' 
 LANDSCAPE PAINTING IN OIL-COLOURS. 
 
 Fifth Edition, Price \s. 
 The ART of PORTRAIT PAINTING in OIL-COLOURS. 
 
 BY HENRY MURRAY. 
 
 Fourth Edition, Price \s. 
 THE ELEMENTS OP PERSPECTIVE. 
 
 BY AARON PENLEY. 
 
 Fourth Edition, Price \s. 
 ARTISTIC ANATOMY OP THE HUMAN FIGURE. 
 
 BY HENRY WARREN, 
 emiti) 23 fillustrationg, JBraiuti on aSEooti ig tf)e Gutter, anU (!Hnsrab£l3 ftg WL, (i. JUason. 
 
 Third Edition, Price \s. 
 THE ART OF MINIATURE PAINTING. 
 
 BY CHARLES W. DAY. 
 fflSEUI) numeroug Illustrations. 
 
 JiLst Published, Price \s, 
 HINTS FOR 
 
 SKETCHING IN WATER-COLOURS FROM NATURE. 
 
 BY THOMAS HATTON. 
 
 WIXSOR AIMD IVKWTOnf, 38» BAT HBO ATE PIiAC£, 
 And Sold Iby all Booksellers and Artists' Colourmen.